Methods & Materials
On the topic of instrument-making, in a broader sense, methods and materials have stood frozen in time. When I visited a small music section of a museum in Vienna, my hubby looked at the violin-making “museum” and remarked “That looks exactly like your workshop”. However for the individual, we are constantly trying to improve and evolve our methods and materials. A slightly more elegant way to cut, plane or finish. Or simply being fascinated that someone else uses another method to the same end. Or trying to tie complex acoustical concepts to the earthly tasks of woodworking to ensure consistency of sound from one instrument to another. This endless fascination and push for evolving for the better is part of the craziness of a luthier.
On the topic of repairs and restorations, methods and materials have evolved markedly. Some concepts still hold, but the thinking and accepted “gold standard” of doing some repairs have changed over 30-40 years. There is an emphasis on being minimally invasive, and retaining as much original wood as possible. What is clear is that there are many wrong ways to do something, and possibly more than one correct way to achieve a repair. I would be wary of anyone who dogmatically insists that his/her way is the ONLY way.
My methods come from a conglomeration of sources. Basically I seek out who I think the best in their field is and try to learn from them. My materials also come from around the world. Wood is sourced from specialised tonewood suppliers located in Switzerland, Austria, Germany and Italy. Wood selection is based on being perfectly quarter-cut, and it’s density. Then there’s also pine resin, linseed oil, pigments, sandarac, copal, hide glue, parchment pieces, Greek mastic, borax, pumice….. Well, you get the idea.