I got my start at McCabe’s Guitar Shop in Santa Monica, one of the country’s most respected acoustic music stores where many luthiers/makers got their first big break. I spent time in the library, on the sales floor, and in the repair shop, learning every side of how a place like McCabe’s runs. I apprenticed in repair and eventually worked my way up to journeyman luthier, where I balanced bench work with helping musicians find instruments that fit their style and needs. That experience shaped the way I approach repair today: with respect for each instrument’s character and a focus on careful, appropriate work rather than quick fixes.

Honestly — working at McCabes inspired me to make my own business, both out of inspiration for how things were done and the community that supported it and helped build it from the ground up, and in how to do things a bit differently, and more my own.

I trained and worked at Sculpture Conservation Studio in Los Angeles, where I specialized in conserving large-scale public art, outdoor sculpture, paintings, and historic objects. Sculpture and objects conservation is an unusually rare field, demanding a blend of scientific precision, historical research, and artistic sensitivity. That perspective has become a cornerstone of my approach to instrument repair and restoration, giving me a conservation skillset that few luthiers share.

During my time at the studio, I contributed to major municipal projects such as the Fresno Main Street reconstruction, where six city blocks were reopened to traffic and over sixty public artworks were carefully relocated and restored. I also worked on the conservation of the First Street Murals in Boyle Heights — an integral part of the Chicano art movement in Los Angeles and a landmark of cultural history. These experiences taught me how to balance technical skill with cultural and artistic responsibility, a mindset I carry into every instrument I work on.

In 2018, my wife Elizabeth and I co-founded Patt’s Guitar Repair and Instrument Conservation in Los Angeles. Starting from scratch, I built the business into a trusted shop that served one of the largest and most competitive music communities in the country. We quickly became known for handling everything from everyday maintenance to conservation-level restoration, often working on instruments with both professional and sentimental value — from late-1800s Martins to modern Partscasters.

In Los Angeles, demand was intense. At peak, we repaired upwards of 1,500 guitars a year and managed a team of three employees. Building and running that shop taught me how to scale my workflow, manage people, and keep a high standard of quality even under pressure. More than that, it showed me how to create a small, successful business that musicians could count on — a place where players of every level felt supported, understood, and part of a community. I felt it was important to treat every player and their instruments with the same respect some shops treat celebrity/rock start clients; I never kept or published a client list. The draw to my shop was that it was high-touch, low-judgement, all-good-vibes.