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I am a stringed-instrument maker specialising in acoustic guitars. I am from and based in Berwick-upon-Tweed, in North Northumberland, next to the Scottish Border. I make instruments by hand in a traditional way, but with an original & contemporary design, and aim to use only timber sourced in the British Isles (please see below for further details). As well as making guitars I also take commissions for other stringed instruments; mandolins, lutes, viols and harps. Have look at the guitars page to find out more about my models. If you're looking for members of the violin family then I recommend Marion & Douglas. Have a look at the contact page for more links. |
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I've spent two years in Glasgow being taught stringed musical instrument making and repair by Bill Kelday, Paul Hyland and Russell Aitken at Anniesland College. Bill and Paul are both exceptional luthiers and have been making instruments for over 30 years, and I am thankful for the knowledge and experience that they've given to me. Russell specialises in guitar set-ups and electric guitars and has also taught me a lot. Obviously I strive to make the best instruments I can, considering sound, playability and aesthetics. I make guitars by hand so I'm therefore in complete control of every aspect of the guitar and I understand how every fine detail could change the sound of the instrument. Making instruments by hand a few at a time and being in contact with my clients before and during the building stage means I can tailor each one to the players' needs. Maybe you are looking for a guitar with a greater volume or a sweeter tone or a guitar neck of a particular width or shape: I can offer the individualised one-to-one service that a large-scale factory cannot. No care or soul goes into a mass produced instrument whereas I do this not just to make a living but for the passion of it. |
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As mentioned above, I aim to use only timber from the British Isles and from sustainably managed woodlands. There are various reasons for my doing so; one of which is that the majority of guitars are made using tropical woods - like mahogany, rosewood & ebony - which are often harvested by intense felling, causing them to become increasingly endangered. This process is threatening them as a species, depleting natural resources and also damaging the earth's climate. FSC-certified ("Forest Stewardship Council") tropical timbers are available but the FSC certificate can be dubious. Another reason for using only British timbers is that I can be in contact with the dealer and know exactly what the timber is, inspect it before buying it, know where the wood is from, when it was felled and how well it has been seasoned. My final reason behind this is basically that the idea of using solely British timber intrigues me. It makes sense to me to use trees that I have grown up around. If I had to look abroad to source my timber from the Americas or from Europe then I would feel that either I'm living in the wrong place, or that what I've chosen to do isn't for me. By using local timber I can feel an affinity with the craft and this enables me to create something completely unique. |
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The amount of British timber that is converted and seasoned for using in luthiery is very small, so I source timber in from the log or in billets and convert it myself. The timber that I use comes from Lanarkshire, Northumberland or the Scottish Borders. The hardest timber to find is that for the soundboard and it's braces. No doubt there are suitable softwoods out there but it's a case of finding them and seasoning them. I haven't sourced a suitable spruce or fir yet & therefore I'm experimenting with yew as a soundboard. |