I began playing the violin in a public school music program in the 4th grade, in my home town of Boise, Idaho. After a year of playing, I wanted to quit playing, but my father encouraged me to continue, and signed me up for private lessons. My teacher, Leah Telford, gave lessons in the back studio of her husband’s violin shop. While waiting for my lessons, I became fascinated with the tools on the wall, the smell of varnish, the wood chips mixed with horsehair on the floor, and everything that makes up the mystique of a violin shop. I started asking to work in the shop when I was about eleven years old, and was finally able to start working there when I was fifteen. James Telford and his son Steve took me in as an apprentice in 1986 in the shop at Telford & Son's Violins, where I learned the trade, and worked for over twelve years.

My specific interest in bows was sparked by the four bows that were in my teacher’s case. Leah had one bow that she played with most of the time--a Vigneron, but she also had a James Tubbs, a Sartory, and a second Vigneron. I was amazed at how each bow pulled a different sound from her instrument, and how each responded differently. This fascination grew into a desire to learn more about every aspect of bows—their makers and history, their maintenance and repair, their playability, and ultimately how to make them.

In the fall of 1999, I moved to Salt Lake City to work with a French Master Bowmaker, Benoit Rolland. I studied with Mr. Rolland for one year, learning the traditional French method of hand-crafting violin bows. Mr. Rolland was a meticulous master, teaching me not only how to make the tools needed, but more importantly, how to use them properly. He taught how to carefully select the best wood, how to rough it down, and how to craft the playability of each stick. In his teaching, Mr. Rolland focused particular attention on the cambering of the bow, and how in combination with the graduation (or tapering down) of the stick, he taught me to draw out the playing characteristics of each piece of wood. Ultimately, this process of transforming a piece of wood by crafting it by hand results in a bow that not only plays superbly, but is aesthetically pleasing as well.

Recent training has continued by attending the summer bow making workshops in Oberlin, Ohio. These workshops, sponsored by the Violin Society of America, have given me the opportunity to work with many fine bowmakers from across the United States and Europe.

In 2003, I moved to the Maryland surburbs of Washington DC to establish a bow workshop in the mid-Atlantic region. Now located in northern Virginia, my shop is about one hour away from the Washington DC or Baltimore, MD metro areas, and about a three hour drive to Richmond, VA or Philadelphia, PA. I maintain a workshop in my home, where I make, restore, and rehair bows. I work exclusively by appointment, providing restoration and rehairing services to local musicians, as well as many players that ship their bows to me. Currently, I rehair over 1000 bows every year, in addition to dozens of focused restorations. I specialize in restoring quality vintage bows and supplying them at affordable prices to players and students. I would be happy to discuss any needs that you have in servicing your bow, or assisting you in finding a new one.