欢迎来到我的工作室
来自加州奥海的问候，欢迎您来到我的工作室，即使只是在线上。
我于1976年在英国纽瓦克小提琴制作学校开始接受培训。那是一段美好的经历，也是我求知欲萌芽的地方。能与当今一些弦乐器领域的权威专家（罗杰·哈格雷夫、约翰·迪尔沃斯、朱莉·里德·耶博阿、约瑟夫·斯里夫特、马尔科姆·西德尔和安妮·胡赛）同班学习，课堂氛围充满了对小提琴制作的无限热情。
来自加州奥海的问候，欢迎您来到我的工作室，即使只是在线上。
我于1976年在英国纽瓦克小提琴制作学校开始接受培训。那是一段美好的经历，也是我求知欲萌芽的地方。能与当今一些弦乐器领域的权威专家（罗杰·哈格雷夫、约翰·迪尔沃斯、朱莉·里德·耶博阿、约瑟夫·斯里夫特、马尔科姆·西德尔和安妮·胡赛）同班学习，课堂氛围充满了对小提琴制作的无限热情。
我对弦乐器的兴趣和热情源于我的教父乔·萨克。正如我在有声书《晨光永不落幕》中所描述的那样，点击此处收听。 （第七章——木质谐音）
My Approach to Making
I continuously refine my models, always with tone as the guiding priority. I maintain meticulous records of every instrument — arching heights, thicknesses, weights, and more. This allows me to study what works best over time and apply those insights to each new piece I create.
Every instrument is made using the same consistent system, yet I tailor the final stages to the unique characteristics of each piece of wood — its density, stiffness, and natural voice.
The Varnish
One of the most rewarding parts of my journey has been the research into traditional varnishes. To approach the quality and beauty of the old Cremonese masters, I knew I needed to use authentic 17th-century materials.
This quest led me to build a primitive distilling plant, produce traditional Indian Yellow from mango-leaf-fed cows, source Weld from Kirstenbosch Botanical Gardens, and forage aloe in the mountains. Today, I cook my own varnish using sun-thickened walnut oil, spruce resin, and mastic. For color, I hand-grind cochineal lakes on glass.
The result is a soft, waxy, and beautifully textured finish that enhances both the appearance and tone of the instrument.
