About

Although I've been interested in violin making for many years, I am now taking it much more seriously and really working on developing my skills.

I am inspired by the violins of the great makers of the 17th and 18th Centuries from Northern Italy, especially Nicolo Amati, Giovanni Paulo di Maggini, Carlo Bergonzi and Antonio Stradivari, whose long pattern of the 1690s is, to my mind, quite extraordinarily elegant. When it comes to viols, I am drawn towards the great English makers, John Rose and Barak Norman.

I believe that each violin, viola or viol ought to be unique and its uniqueness is part of what gives it character. There are any number of identical factory-made instruments in the world, but a hand-made instrument should always give so much more pleasure and satisfaction.

EDUCATION

Merton College, London, evening classes with Keith Graves

Leith Academy evening classes with Andrea Pontedoro

Currently studying with Sheena Laurie, Luthier, Doune

I am a member of the British Violin Making Association and the Viola da Gamba Society.

Inspirations

The late Sid Watson, my first violin teacher, who got me started on playing the violin.

The Violin and Viola by Marjorie Robinson, a little book for children and a gift from my parents, which first made me aware of something of the history of violins and how they are made.

David Stewart, my second violin teacher, who one year build a harpsichord. I'd never before imagined that someone I knew could do something as amazing as making a musical instrument. My fascination with the harpsichord building process and my determination to talk about it during violin lessons may have contributed to my lack of progress on the violin.

The Making of Stringed Instruments: A Workshop Guide by George Buchanan. I found this book in a bookshop in Kirkwall. It cost £30 in 1992. I debated long and hard with myself over whether I could afford it, but I'm glad I bought it. It got me started.

Ewen Thomson, the first violin maker I met. We met on Fair Isle, where Ewen is from, shortly after he had graduated from Newark. Ewen is now a highly respected maker living in mainland Shetland. I was delighted to meet up with him again in 2022 after 30 years.

While living in London, I took an evening class at Merton College, Morden, with Keith Graves. This was the I really got going. My first violin was substantially made there, though I completed it after I moved back to Scotland. Keith is an inspirational teacher with many top class graduates to his credit.

The Art of Violin Making, by Chris Johnson and Roy Courtnall. This is one of the best books available on violin making in English. I bought it on Keith Graves' recommendation and refer to it frequently.

Sheena Laurie, my teacher. It is a real privilege to spend time in her workshop. She's patient and encouraging, down to earth and has a great ability to explain things clearly. She demands high standards.

The Manual of Violin Making by Brian Derber. Brian is the owner/director of the New World School of Violin Making in Wisconsin and this book is effectively the course handbook from the NWSVM. Every step is fully illustrated in colour and minutely and clearly described. Worth even penny but, as Brian says in the Acknowledgements, "There's no such thing as a self-taught violin maker," but this book is a tremendously valuable reference.

Christian Mueller is a fellow student of Sheena's and it is always great to share a day with him in her workshop. Christian is really good, and always encouraging. He's a QEST Scholar. Being more advanced as a violin maker than I am, he gives me something to aspire to which doesn't seem out of reach.

omo - The Romance & Reality of violin makers, a great podcast from Rosie DeLoach, Christopher Jacoby and Jerry Lynn, full of good stories, interesting insights, helpful advice and plenty of humour.

In 2022, I spent a week at Cambridge Violin Makers working particularly on baroque set-up. Excellent teaching, many stimulating conversations, a great deal of woodworking and much fun. If you want to make a violin or develop skills, I'd highly recommend Cambridge Violin Makers.

(Picture by Chris Beament)

After a break of 38 years, I returned to taking violin lessons, with the aim on being able to play in front of other people without embarrassment. I'm studying with Mishi Stefko at Lamp House Music in Haddington, and have never enjoyed playing violin as much as I am now.