"In 1984, I moved my family, home and workshop to Sequim, Washington. My wife and I constructed our shops and home on the foothills of the Olympic Mountain Range.

Continued to lecture about the new guitar design, conducted the "Lost Mountain Seminar" annually, Ongoing guitar design research and wrote several articles. Trained several apprentices in the latest, scientifically based Kasha/Schneider design principals and in guitar craftsmanship. Continued to create handmade instruments bearing my own label.

In 1986 I founded Lost Mountain Center for the Guitar as a non-profit 501(C) 3 organization, whose purpose is to research, develop and disseminate information about improvements in guitar design. I am current director with a governing board of seven members.

Hosted three guitar festivals entitled"A Day on Lost Mountain - The Intimate Guitar Festival, which included classical guitar concerts, lectures, poetry readings and demonstrations open to the public.

In 1986 I incorporated twenty-six important design changes into the Kasha/Schneider guitar design. These changes have made significant improvements to the tonal functions and playability of all Schneider instruments built since that time.

In 1992 I invented the "Floating Double X Back Brace Design" and a new bridge which has no external tie block. Strings tie to the underside of the soundboard creating a safer bridge/soundboard bond and safer string break angle for improved driving and less buzzing problems.

"Director and owner of Studio of Richard Schneider, Kalamazoo, Michigan, devoted solely to classical guitar design and fine construction using Kasha/Schneider design. Taught three full-time apprentices.

Continued collaboration with Dr. Michael A. Kasha on experiments and analysis of guitar designs. Important innovations during this period were wood laminate bracing systems and use of non-traditional wood types in guitar construction. Conducted and analyzed experiments involving tensile strength of materials, and shapes and positioning of braces.

In addition to functional improvements, developed a new set of visual esthetic standards for the guitar. Based on the principal of "form follows function," changes were made to head and body shapes; and rosette designs were reexamined and new design concepts were created.

In 1983 I conducted first two Kasha/Schneider Design seminars in Kalamazoo to teach other luthiers the new technology. Eighteen students attended from five countries and twelve states.

Created the "Helical Mosaic Bracelet." This lathe turned bracelet incorporated a polychomatic assembly of many rare hardwoods in unique patterns, and often utilized as many as 4,000 pieces of wood.

Actively involved with creation of inlaid wood jewelry. Many pieces were shown in a number of regional and national arts and crafts exhibitions.

Contributed articles and photographs to art and design publications.

Engineered and built five "Taxi" guitar prototypes for Silver Street, Inc., Elkhart, Indiana.

Consultant to Gibson Guitar Company, Kalamazoo, Michigan from 1973 to 1978. Headed up design, engineering and production procedures for the "Mark Series' guitars based on the Kasha/Schneider design, and personally built the original prototype guitars. Also designed and built the special commemorative edition "The Les Paul" electric guitar prototypes and product instruments.

"Consultant to Baldwin Piano and Organ Company, (Gretch Guitars,) Cincinnati, Ohio. Responsibilities included analyzing and critiquing guitar acoustics and construction methods and building prototype instruments utilizing Kasha/Schneider design principles.

"Proprietor of Estuido de la Guitarra which housed a guitar making workshop, retail store and music instruction studios. We specialized in the construction and repair of fine concert classical guitars and provided teaching studios for instruction of Classical and Flamenco guitar playing.

Initiated collaboration with Michael Kasha, Ph.D., of Florida State University, Tallahassee, Florida. Began scientific exploration and early research and development of innovative acoustical designs for the classical guitar. Design prototypes were constructed and tested for sound qualities, acoustic functions and structural strength and durability.

Successfully promoted and managed one classical guitar concert and two Flamenco guitar concerts in major Detroit area auditoriums. Concerts performed by Maestro Juan Serrano, Flamenco guitarist and by Maestro Gonzalo Torres, classical guitarist.

Organized and promoted two successful guitarist master classes in the Detroit area. These master classes were conducted by Maestro Juan Serrano, Flamenco guitarists and by Maestro Mario Abril, classical guitarist, and attracted students from the midwest.

Instructed guitar classes for the Adult Education Program, East Detroit, Michigan. Activity involved teaching basic, intermediate, and advanced levels of folk guitar to large groups.