When making an instrument my first and most important concern is the type of sound I want to create. This decision will influence the choice of model I use and consequently the outline, arching, type of wood and other key factors.
In general, I create my instruments either on a mould or simply using a drawn outline on a plate leaving out any restricting guides. This second method allows me to achieve a more fluent and creative style without compromising the accuracy of work.
Fluency and harmonious shapes play a key role in my approach to making especially when creating the outer shape of the body itself.
By finalising the edges and fluting area of the plates after the instrument is fully closed I achieve that symmetric look to the outline. Purfling and Fluting then finalise and frame the exterior of the completed sound box.
I make my instruments mostly based on the Cremonese makers of the 17th and 18th century with my own interpretation always in mind.
My selected wood, which is best quality spruce and maple imported from Italy and southern Germany, is carefully stored and well seasoned before use.
The varnish is my own oil based recipe which gives the instrument a rich and warm appearance without restricting vibrations of the plates.
Principally I offer two types of finish.
The newly varnished finish with light shading around the edges that will present the player with a well balanced appearance of a comtemporary instrument or the antiqued varnish that carries all the characteristics of a well aged instrument.
Upon request I do take on commissioned work.
This can be for a number of reasons like the choice of wood, a specific tonal request or other factors. I am always delighted to create an instrument that will satisfy such demands.