All of my instruments
Instrument #1—15” viola, completed 2001
This was my first attempt at lutherie, and was made specifically for my
youngest son, Brian, who, though he promptly quit playing viola, did go
on to learn guitar, and guitar-making. (Google “Alexander Guitars”)
The back and ribs are maple of an unknown variety (Bigleaf, almost
certainly), gotten from a hardwood store. The belly is Englemann
spruce, from the same source. The neck is from a downed Bigleaf maple
near our house at the time (2000-01). Jake Jelley, a luthier friend from
Vancouver, Washington, was a big encouragement to me during the
making of this viola—without him I might not have completed it.
The inlay is abalone shell—I was not aware at the time that “real
luthiers” don’t do this, and I was copying a design from my great-great-
grandfather’s fiddle—a cheap, cottage-industry violin of German origin.
(near Mittenwald, I think, prior to 1900). It is pretty, and I still like it—I
just don’t do that any more.
It has a fairly soft voice, and many, many marks of the amateur, but it is
pretty.
Instrument # 2, a “Strobelesque” violin.
Partway through the first lutherie attempt, I had gotten hold of the very
helpful series of books by Henry Strobel. None of what I did may be
blamed on him, however, because I am constantly guilty of not quite
following the directions. (I am getting better about this, and have
adopted the motto, “Keep to the path until you have learned the
territory—then begin to explore!”—but I still haven’t completely
reformed in this area.) Anyway, though I began this violin with his
pattern, the result cannot be blamed on Mr. Strobel.
This violin plays better, and has a louder voice…better wood, better
construction…not sure what else. I was still making many mistakes,
especially in arching and corners. The one-piece back and the sides are
maple—probably Bigleaf—and the belly is Sitka spruce. I used oil
varnish.
I still play this violin regularly, but will probably not sell it. It was my
first attempt at a violin, and, as it was not made for a gift (as the first
viola was), I will probably just keep it.
Partway through the first lutherie attempt, I had gotten hold of the very
helpful series of books by Henry Strobel. None of what I did may be
blamed on him, however, because I am constantly guilty of not quite
following the directions. (I am getting better about this, and have
adopted the motto, “Keep to the path until you have learned the
territory—then begin to explore!”—but I still haven’t completely
reformed in this area.) Anyway, though I began this violin with his
pattern, the result cannot be blamed on Mr. Strobel.
This violin plays better, and has a louder voice…better wood, better
construction…not sure what else. I was still making many mistakes,
especially in arching and corners. The one-piece back and the sides are
maple—probably Bigleaf—and the belly is Sitka spruce. I used oil
varnish.
I still play this violin regularly, but will probably not sell it. It was my
first attempt at a violin, and, as it was not made for a gift (as the first
viola was), I will probably just keep it.
Instrument #3, a “Dolphin-inspired” violin (2004),
This violin is modeled (supposedly) after the Dolphin, a 1714
Stradivarius instrument. I have never seen the Dolphin, and have only
seen small, poor-quality photographs. The teacher (Michael Klein, of
Grants Pass, Oregon) who guided me through this instrument gave me
the patterns, and they were given to him by someone else. Who knows
whether they are accurate in any respect...but that is what it is supposed
to be. Jake Jelley directed me to Mike, as well as to Ed Campbell before
him. Both were a big help.
Here is part of the back— the inlay was actually to hide a repair
necessitated by my error.
The back is Carpathian Maple, bought from Ed Campbell, of Boiling
Springs, Pennsylvania; the front is Englemann Spruce, bought from
Michael Klein. The neck is Big Leaf Maple, also from Mike Klein, and the
ribs are Big Leaf Maple bought from a hardwood store. (Quite a
patchwork. ) I used oil varnish, and attempted an “antique” look..
I did not get my archings quite right, and was told by many players,
“This sounds like a viola…” Michael Darnton later told me that my
archings were more similar to what a viola should be, as opposed to a
violin, which may explain all the comments. However, it is being played
in an orchestra in Portland, Oregon, and the young man playing it seems
very happy with it. It is on an extended loan, not sold.
Sam Compton really liked this fiddle, and played it a lot at Michael
Darnton’s workshop in Claremont, California, in 2006. I surely miss him….
he died in 2007
This violin is modeled (supposedly) after the Dolphin, a 1714
Stradivarius instrument. I have never seen the Dolphin, and have only
seen small, poor-quality photographs. The teacher (Michael Klein, of
Grants Pass, Oregon) who guided me through this instrument gave me
the patterns, and they were given to him by someone else. Who knows
whether they are accurate in any respect...but that is what it is supposed
to be. Jake Jelley directed me to Mike, as well as to Ed Campbell before
him. Both were a big help.
Here is part of the back— the inlay was actually to hide a repair
necessitated by my error.
The back is Carpathian Maple, bought from Ed Campbell, of Boiling
Springs, Pennsylvania; the front is Englemann Spruce, bought from
Michael Klein. The neck is Big Leaf Maple, also from Mike Klein, and the
ribs are Big Leaf Maple bought from a hardwood store. (Quite a
patchwork. ) I used oil varnish, and attempted an “antique” look..
I did not get my archings quite right, and was told by many players,
“This sounds like a viola…” Michael Darnton later told me that my
archings were more similar to what a viola should be, as opposed to a
violin, which may explain all the comments. However, it is being played
in an orchestra in Portland, Oregon, and the young man playing it seems
very happy with it. It is on an extended loan, not sold.
Sam Compton really liked this fiddle, and played it a lot at Michael
Darnton’s workshop in Claremont, California, in 2006. I surely miss him….
he died in 2007
Instrument #4, a Lanini-inspired viola, (2004)
This design was also received from Michael Klein, who
got it from Victor Gardner (aka Vittore Giardinieri—
evidently his given name), who apparently got it from
Henry Lanini.
This viola was my best instrument to date, and
everyone who played it loved the tone…but at 420mm
on the body, it was a little large for some people. I used
Bigleaf Maple and Englemann Spruce, with oil varnish,
lightly antiqued.
That’s Dr. William Sloane, in the background, below,
playing this viola—I am on the back left, playing my #3
violin, while Sam Compton and Anya Shoennege are
playing Dr. Sloane’s 1714 Strad, and 1742 del Gesu—
Cajun music, as I recall…
This one was sold to Joshua Wright, and is being
played in a college orchestra in Oregon. He is very
happy with it, as are his teachers and directors.
This design was also received from Michael Klein, who
got it from Victor Gardner (aka Vittore Giardinieri—
evidently his given name), who apparently got it from
Henry Lanini.
This viola was my best instrument to date, and
everyone who played it loved the tone…but at 420mm
on the body, it was a little large for some people. I used
Bigleaf Maple and Englemann Spruce, with oil varnish,
lightly antiqued.
That’s Dr. William Sloane, in the background, below,
playing this viola—I am on the back left, playing my #3
violin, while Sam Compton and Anya Shoennege are
playing Dr. Sloane’s 1714 Strad, and 1742 del Gesu—
Cajun music, as I recall…
This one was sold to Joshua Wright, and is being
played in a college orchestra in Oregon. He is very
happy with it, as are his teachers and directors.
Instrument #5, a “Milanollo-inspired”
violin, (2005)
Michael Darnton had suggested that I buy a
copy of “The Art of Violin Making”, and a
copy of the Strad-poster of the Milanollo, a
1728 Stradivarius instrument, and use the two
together, to upgrade my skills. This was an
attempt to do so. I still tend to get in a hurry,
impatient to get it done, and cause a lot of
errors that way.
This instrument is being played in an
orchestra in Portland, Oregon. It is on an
extended loan, not sold. The young lady
playing it is very happy with it.
The wood is supposedly “European Maple
and Spruce”, but I got it off e-bay, so who
knows…? This one has been accused of
sounding like a viola, too. I still had not
mastered the archings (though I did manage
to shorten the corners a bit). I used oil
varnish, and attempted an “antique” look.
violin, (2005)
Michael Darnton had suggested that I buy a
copy of “The Art of Violin Making”, and a
copy of the Strad-poster of the Milanollo, a
1728 Stradivarius instrument, and use the two
together, to upgrade my skills. This was an
attempt to do so. I still tend to get in a hurry,
impatient to get it done, and cause a lot of
errors that way.
This instrument is being played in an
orchestra in Portland, Oregon. It is on an
extended loan, not sold. The young lady
playing it is very happy with it.
The wood is supposedly “European Maple
and Spruce”, but I got it off e-bay, so who
knows…? This one has been accused of
sounding like a viola, too. I still had not
mastered the archings (though I did manage
to shorten the corners a bit). I used oil
varnish, and attempted an “antique” look.
Instrument #6, a 7/8-size “William
Tarr-inspired Bass”, (2007)
This instrument was my first bass, as well as
my first commissioned instrument, and was
built for Jacob Beaty, for the cost of materials,
as I was not sure I could build a good bass. It
turned out well, and has been played by a
number of professional bassists, who were
very pleased with the response, playability
and tone. The wood is Bigleaf Maple and
Englemann Spruce, both from John Tepper of
“Tepper Tonewoods”, in Shady Cove,
Oregon. The plan called for a flat back, but I
arched it.
I used the book and plans I got from Peter
Chandler, of Ontario, Canada. He was a big
help to me, and, sadly, died just before the
instrument was complete. I had really wanted
him to see the finished work.
He’s another friend I will surely miss.
The bass was professionally appraised at
$12,000 USD, which was a shock to me,
though gratifying, of course. I think I can
build them better now, so who knows?
Perhaps I have found a niche. At any rate,
Jacob got a great bass, and is very happy.
Tarr-inspired Bass”, (2007)
This instrument was my first bass, as well as
my first commissioned instrument, and was
built for Jacob Beaty, for the cost of materials,
as I was not sure I could build a good bass. It
turned out well, and has been played by a
number of professional bassists, who were
very pleased with the response, playability
and tone. The wood is Bigleaf Maple and
Englemann Spruce, both from John Tepper of
“Tepper Tonewoods”, in Shady Cove,
Oregon. The plan called for a flat back, but I
arched it.
I used the book and plans I got from Peter
Chandler, of Ontario, Canada. He was a big
help to me, and, sadly, died just before the
instrument was complete. I had really wanted
him to see the finished work.
He’s another friend I will surely miss.
The bass was professionally appraised at
$12,000 USD, which was a shock to me,
though gratifying, of course. I think I can
build them better now, so who knows?
Perhaps I have found a niche. At any rate,
Jacob got a great bass, and is very happy.
Instrument #7, another “Dolphin-
inspired violin”,
(labeled 2006, but not varnished until
2008)
This instrument is made of Bigleaf Maple and
Englemann Spruce, bought from Tepper
Tonewoods. I got a big enough piece of maple
to make a matching viola to go along with the
violin, but at the time of this writing, have not
yet made the viola—I expect the viola will be
my #12 instrument. I used spirit varnish on
this one…my first try at this process.
This one has not yet found a home…so I am
playing it.
inspired violin”,
(labeled 2006, but not varnished until
2008)
This instrument is made of Bigleaf Maple and
Englemann Spruce, bought from Tepper
Tonewoods. I got a big enough piece of maple
to make a matching viola to go along with the
violin, but at the time of this writing, have not
yet made the viola—I expect the viola will be
my #12 instrument. I used spirit varnish on
this one…my first try at this process.
This one has not yet found a home…so I am
playing it.
Instrument #8, a Dolphin-inspired
violin, (2008)
This violin is made of Big Leaf “quilted”
Maple, and Sitka Spruce, both from hardwood
stores. The maple was just too pretty to pass
up, so I had to try a fiddle made of it.
Spirit varnish again…I hope to master this
process under Paul Schuback’s tutelage.This
is being played by a young lady in Portland,
who seems quite pleased with it.
violin, (2008)
This violin is made of Big Leaf “quilted”
Maple, and Sitka Spruce, both from hardwood
stores. The maple was just too pretty to pass
up, so I had to try a fiddle made of it.
Spirit varnish again…I hope to master this
process under Paul Schuback’s tutelage.This
is being played by a young lady in Portland,
who seems quite pleased with it.
Instrument #10, a Milanollo-inspired
violin, (2009)
This one is built in the French tradition (flush,
one-piece inside mold), under the instruction
of Paul Schuback. None of the errors can be
blamed on him…he has an eagle’s eyes, and
misses nothing. But my skills are just
beginning to grow, under his generous
tutelage, so there are some glitches…I hope to
become a decent maker before Paul retires.
This is built of Michigan Red Maple, bought
from Elon Howe, of Michigan, and Sitka
Spruce, from John Tepper, of Oregon. I used
spirit varnish under Paul’s guidance.
This plays the best of all, so far, I think. And it
has far fewer errors than before, so Paul’s
teaching is paying off. I must press on, and
continue to grow.
violin, (2009)
This one is built in the French tradition (flush,
one-piece inside mold), under the instruction
of Paul Schuback. None of the errors can be
blamed on him…he has an eagle’s eyes, and
misses nothing. But my skills are just
beginning to grow, under his generous
tutelage, so there are some glitches…I hope to
become a decent maker before Paul retires.
This is built of Michigan Red Maple, bought
from Elon Howe, of Michigan, and Sitka
Spruce, from John Tepper, of Oregon. I used
spirit varnish under Paul’s guidance.
This plays the best of all, so far, I think. And it
has far fewer errors than before, so Paul’s
teaching is paying off. I must press on, and
continue to grow.
Instrument #9, a 15-3/4” Oliver viola, (2008)
This was inspired partially by Lanini—but it is my own
design, so I named it the “Oliver”—and all the viola
designs I come up with will bear that title, but with
different size designations. Oliver is my middle name,
and that of my Dad and Granddad. When my Dad was
young, he was called Oliver, to avoid confusion, as his
Dad was called Chester, or Chet. This is the first
“Oliver” to join the family in a long while.
The one-piece back is of curly maple (species unknown,
but same as the #2 instrument) from Crosscut
Hardwoods. The belly is of Englemann spruce, from
John Tepper. The sides are of Bigleaf maple from
another hardwood store, while the neck is Bigleaf maple
from John Tepper, again. The blocks are willow, which
I cut and dried, from a local tree, after a storm. This has
the highest arching I have ever made on a viola, so it is
somewhat experimental in nature. It turned out to have
a really big voice—very rich and deep. It is being
played by a young man in Portland.
I used spirit varnish, again...
This was inspired partially by Lanini—but it is my own
design, so I named it the “Oliver”—and all the viola
designs I come up with will bear that title, but with
different size designations. Oliver is my middle name,
and that of my Dad and Granddad. When my Dad was
young, he was called Oliver, to avoid confusion, as his
Dad was called Chester, or Chet. This is the first
“Oliver” to join the family in a long while.
The one-piece back is of curly maple (species unknown,
but same as the #2 instrument) from Crosscut
Hardwoods. The belly is of Englemann spruce, from
John Tepper. The sides are of Bigleaf maple from
another hardwood store, while the neck is Bigleaf maple
from John Tepper, again. The blocks are willow, which
I cut and dried, from a local tree, after a storm. This has
the highest arching I have ever made on a viola, so it is
somewhat experimental in nature. It turned out to have
a really big voice—very rich and deep. It is being
played by a young man in Portland.
I used spirit varnish, again...
Click on images to enlarge