I have been called a pioneer in my use of native timbers and while there is an element of truth to this it may be simply a desire to use what is available locally. Of course, I am fortunate to have available locally, some of the most uniquely beautiful, not to mention the oldest, wood in the world. How could I resist?

On the other hand, I have had the incredible privilege of discovering the rich tonal potential contained in the greatest of all southern hemisphere species living today; the majestic Kauri. The path to that discovery was like a tramp in the New Zealand bush; never seeing far ahead with the progress often slow. But perseverance can bring great reward and this can be clearly heard and seen in this remarkable tone wood.

To say that building with these woods has been a challenge is an understatement. I have spent many years refining my designs and comparing my woods with the rosewoods and spruces but one of the great benefits of working with these timbers is that it has taught me to think outside the conventional wisdom and to separate myth from fact.

It is not new, but I have learnt first hand that it doesn't matter what you choose for the back and sides, it is the soundboard that is the over arching influence in producing great tone. You just can't build a great sounding instrument without a great soundboard.

I have built with many fine woods but my finest instruments continue to be those with select kauri tops.