Approach to making

Studying and copying the great masterpieces of Stradivari, Guarneri and Amati as well as the Venetian and Brescian masters of the 17th and 18th centuries is the starting point for me. Some of my instruments are accurate copies with an antiqued finish. Sometimes I have tried to create a "new" instrument, looking as if it had just left Stradivari's workshop. At other times I have made instruments based more on the principles of a particular maker rather than copying an existing instrument, though always referring back to originals. In recent years I have found a personal style creeping into the work and I have allowed this to happen.

To keep things simple I use very few machine tools. I actually find machines can distract you and break the flow of concentration. I prefer to work quickly by hand and take a break if the going gets too tough!

Much of my time is spent on Varnish. I believe it is the most important aspect of the violin visually, and, without getting into varnish mysticism, one of the most critical factors in tone. Colour, depth, thickness, surface texture, hardness, ageing characteristics and ground are all factors to be considered.

Though I aim for visual beauty, I do not consider my instruments as works of art, rather as tools to be used. A well treated instrument will, in fact, last a lifetime and will be the better for use. (see the cello below)

Cello 1999, Venetian model.

The cello has survived flood damage and four years of heavy playing to become the characterful and rich sounding instrument it is today.