In order of experience, I repair acoustic guitars, electric guitars, mandolins, Irish bouzoukis, banjos, electric basses, classical guitars, violins, Neapolitian mandolins, Greek bouzoukis, cajóns, double basses, cellos, violas, charangos, ronrocos, timples, zithers, autoharps, erhu, shamisen and more.

If a specific job is above me or doesn’t suit me for whatever reason, I will help you find a suitable repair person. I have contacts that are trained in classical viol family instruments, bows, harps, accordions, harmonicas, woodwinds, brass, uileann pipes, bagpipes and pianos. Don’t be afraid to get in touch.

Repair times vary depending on the issue. Simple fixes like string replacement take 1-2 days, while complex repairs like crack restoration may take 1-2 weeks. Contact us for an estimate.

Please understand that I do this work part-time and due to my experience as a guitar maker and pro player, I am sought after.

I am currently operating with a waiting list of about 3 weeks before I can take in an instrument. A survey can be conducted within a few days of initial contact, after which I can give a a cost and time estimate and offer some advice.

Labour costs depend on the repair type—basic setups start at €50, A pickup installation can be somewhere between €50 and €125 depending on the complexity and access. Extensive repairs like bridge replacement or refretting can range from €100 to €500+. We provide free quotes after assessing.

It started with building and soldering an electric guitar in secondary (high) school. I bought a book and was hooked from the first page.

My first training was with a housemate in Galway by the name of Rob Sullivan. Rob had 40+ years as a guitar tech and sound engineer in California. He taught me a lot.

While in Galway, I approached Kieran Moloney of Moloney Music in the centre of Galway City and asked him for a job. I got a 6-month trial thanks to a government mentorship program and by the end of it, I had created a job for myself as a repairman and salesman. Kieran was the first man to pay me for lutherie, and I am very grateful for the start.

After two years there, I went to Northern Ireland to study guitar making under Sam Irwin. I managed to get hired on completion of the course, so he walked me through some very specialised repairs over my three years teaching there.

Having the luthiers from Avalon Guitars just downstairs was a great help also. Notably Ernie McMillan for repair advice.

In 2023, I studied the art of classical guitar making in Granada under Pavel Gavryushov, a world-class maker who is also renowned for his restoration work on romantic, flamenco and classical guitars. He took me through some photo galleries of his finest restorations during my time in his atelier.

Ultimately though, the real learning is done at the bench. I have snipped, hammered, milled, crowned and polished thousands and thousands of frets at this stage and I am continue to learn new things. I have a well-stocked bookshelf and it’s visited every week.

I think that musical instruments are some of the finest, most functional, inspirational, influential and beautiful things that have ever been created.

As a maker of guitars, a collector of world instruments and a professional musician, I treat every instrument that comes through my door as if it was my own. I ensure that my workbench is free from debris and stray tools and I return every instrument cleaner and more nourished that when it came in. Each instrument has a uniques character, and I try to honour each one, with the intention of bringing that character out. That is somewhat of an indirect answer, but I hope it conveys the love I have for every instrument and the level of care that I try to provide.