New stuff at last!

As promised, we’ve now got broadband! So, for your viewing pleasure, I’ve put three new videos on YouTube. Please remember whilst watching these efforts that I can make instruments better than I play!!!! As I always say, “I play for my pleasure and no one else’s!”

Firstly, we have the two African Blackwood and sinker redwood instruments for Matt Bellamy and Morgan Nicholls of Muse. They’re about to embark on a major world tour so, good luck guys hope it all goes well.



Next, we have Jill’s quilted maple twin-point mandolin.



The third is, “The design and construction of a parlour guitar part I”
Regular readers may remember that awhile ago I actually bought an old parlour guitar! Well, I’m using that as the basis of a new guitar and I thought it might make a nice change to do a video diary of its creation.



And lastly, with a lot of help from my son Luke, I’ve revamped the website. I’m very pleased with the results: I hope that you like it too. As they say in the best American diners, “Enjoy.”
Click here for the new site .

PS. Many thanks to those of you who leave nice comments about my work; they’re greatly appreciated, cheers!

African Blackwood Guitar and Ukulele

We made it safely to our new home, a converted Methodist Chapel in the Norfolk countryside. It took 2 trucks, one for the house and the other for the workshop! One of the most stressful parts of the move has been trying to get, without much luck, a telephone line and broadband so I shall only be on-line intermittently until mid-August, thanks to the local internet cafe.
As promised a bit about the two Blackwood instruments: they were completed just before we moved. The soundboards were French polished and the rest of the instruments were finished with Tru-Oil. The combination of the two types of finish worked really well. The oil allowed the natural beauty of the African Blackwood to show through and it also gives a nice feel to the neck, lacquer can feel sticky.

Morgan had very definite ideas on how he wanted the instruments to look and the finish gives them the “aged” look that he was after.
Morgan set me quite a few challenges throughout this build, the final being the bridges. He wanted a curved shape bridge, a tie-block that blended in and was doubled drilled for tying the strings; this involved a fair bit of discussion over their design, but I think that we were both pleased with the results. Probably the best bridges that I’ve made!

Below are a variety of photos of the instruments:



African Blackwood backs, sides, fingerboards head overlays and bridges
Sinker redwood soundboards
Pink ivory (sacred wood of the Zulu) binding and rosettes
20,000 year old fossilised walrus tusk nuts and saddles.
Doesn’t get much more exotic!







How do they sound? Well, I’ve made another one of my videos which I’ll upload once I’m properly back on line; however it does not do them justice. The Matt Bellamy’s classical guitar sounds very promising; already the trebles are sounding out loud and sweet and there are also some nice rich bass tones. It will need to be played in for a few months to reach its full potential, but I think that it’s going to be rather special. Morgan’s baritone ukulele was a revelation! I was pleased that it had a good tone and volume when I played it and that it didn’t sound plinkity plonkity like some ukes do. But when he came over and played it! The volume was outstanding for such a small instrument.

Hopefully Morgan and Matt will be pleased with these instruments: I certainly am. It was a good experience working with Morgan, he pushed the envelope and I feel that I’m a better luthier for it.

So much to do!!

The Red Mandolin nears completion; I’m just waiting for the French polish to harden and then it can be shipped to its new owner Alan.


Alan has been waiting very patiently for this mandolin and I must admit that I’m very grateful that all of my client’s are so patient. Those of you who regularly look at the blog might realise that I‘m bit behind at the moment, I’m still trying to catch up after my sinus operation at Christmas! Also I mentioned this phrase, “caring more and more about less and less,” in a recent post and I think my increasingly fastidious approach is slowing me up a bit too!

Jill’s Mandolin II

Have a look at the sequence of photos below for the construction of Jill’s neck...... I could just have band-sawn a maple neck out of a big lump of wood but there is going to be a decorative stripe of walnut and red veneer (which will match the purflings and binding) and structurally a laminated neck with a scarf head joint is far stronger.

Planning the best way to use the wood.
Heel glued to neckIt's then cut down the middle ready for the laminations
And finally the head overlay which you saw in the last post is glued on and the head shaped.

I’ve also been working on the rosette and you can see the red theme being picked up again.


Each piece of abalone is individually cut and I was pleased to get the whole rosette from one piece, so the colours match throughout.
How pretty is that!

Matt and Morgan's Blackwood instruments

The two African Blackwood instruments are coming along nicely and you can see that Matt’s guitar has caught up with Morgan’s uke.

So you want to be a luthier?

I get, on average, an enquiry a month asking either for a job in my workshop or advice on how to be a luthier. So, I thought that I would write some thoughts on this process to refer any future enquiries to.

Firstly. I understand the romantic appeal of wanting to be an artisan producing musical instruments, working with wood etc.

When I was about 14, I remember seeing an article on the Nationwide TV magazine program about Tony Zemaitis. Pop luminaries such as Eric Clapton and Ron Wood were going to his house and ordering guitars and I though that’s the life for me. I knew by that tender age that I wasn’t going to be a good musician (my YouTube videos prove this!) but I was good at woodwork and the rest as they say is history.

Tony Zemaitis

Link to info about Zemaitis.

So you want to be a luthier? One of the first things that I think you should do is some maths. Have a look on luthier supply websites and price up the materials for an instrument. Then have a look at the prices that luthiers charge, sure there are some UK makers like Sobell or Fischer who can command high prices, but most (like me!) charge modest amounts. If you’re lucky, you might be able to make (and more importantly sell!) around 10 to 15 instruments per year: factor in tax, workshop overheads etc and that should put you off of the idea! You’re not going to get rich being a luthier! That’s the tough love bit!
My advice is to try to make one at home, by yourself to see whether or not you catch the bug. You’ll need some specialist tools such as a bending iron and router, but these can often be picked up on eBay; use them and if guitar making is not for you sell them on to the next would-be. There are loads of good books and many web-sites showing how to build a guitar so there’s no shortage of information available.
Having made your first instrument you can either continue making by yourself selling to friends, fools and family until you’re confident that your product is as good as anything available.
Trying to price your work is difficult; you cannot say my plumber charges £50 per hour, a guitar takes 100 hours to build therefore I want at least five grand! The price will be a complex combination of your reputation, quality of work and most importantly, what the market will bear.
Alternatively, you could try to get work in one of the few small factories that are about, although I imagine the competition is tough or go to a luthier school and train properly. Even once you have been down this route there is no guarantee that you will make a living.
There isn’t an easy route into guitar making and it takes years to build up a range of skills and a good reputation. I was lucky enough to go the London College of Furniture and train there for three years, at the same time as doing repair work for a local guitar shop. Repairs are a great way to learn about guitars. Those are my thoughts for what they are worth, good luck to you.

So what’s happening in my ‘shop. Well the two Blackwood instrument are coming along; I love this photo! Maybe I should make Russian dolls!

And the Red Mandolin is being French polished. The more I polish the more I like it; I’ve said it before and I’ll say it again, the shellac really brings the wood to life. There is such variation in the grain of the Brazilian rosewood, on the mandolin’s back, that wasn’t apparent until the polish started going on; the shellac must have some optical properties that I’m unaware of.

The mandolin really has the look that I wanted; I was telling its new owner Alan, that last summer, before I started work on it, my wife and I visited the Sir John Soane's Museum. He was the architect who designed the building for the Bank of England and the museum is based in his house. The house is absolutely wonderful with fantastic craftsmanship and details everywhere and something kind of clicked within me and I felt that I wanted my instruments to look at home in a wonderful place such as this. The Red Mandolin was inspired and this is hopefully the first of many instruments that I will build with this feel.

Sir John Soane

Link to info about Sir John Soane’s Museum.


Although my workshop is small and I try not to have too many things going on at the same time, once the mandolin has had a good hour or so being polished and I’m waiting for glue to dry on the Blackwood instruments.....

...something else needs to be done and so I’ve started Jill’s mandolin.

Jill's Mandolin Part 1

I know that Jill is a follower of my blog and has shown great interest in my work: therefore it only seems fair that I feature the construction of her mandolin in some detail.
One of the first things that I have done is make up the head overlay. This is a small component, so it can be made and put safely aside until needed. A piece of abalone is glued to thin plywood; the abalone is brittle and the ply stops it from snapping whilst being shaped. I no longer try to make each N logo identical; I like the idea that each one will be subtly different just like a hand-written signature.

The N will be inlaid into some beautiful burr Claro Walnut that I have.

Some careful marking out...
The finished overlay At this stage I’ve also glued up the two book-matched pieces of quilted maple for the back. The joint between the two pieces has to be perfect and I always use my jack plane with a shooting board. The idea of the shooting board is that the plane can lie on its side and not wobble; this ensures that the edge of the wood is in the same plane along its length.
I then use sash clamps to apply pressure to the joint whilst the glue dries. There are other methods of clamping, using string and wedges, but I find that clamps allow me to adjust the pressure more accurately.

And of course the soundboard is put together in exactly the same way.
These two pieces will also be laid aside for awhile.