Amongst the piles of wood, hand tools and gouges in the tool rack, new instruments are taking shape on the bench using traditional working methods little changed in centuries.
While maintaining the traditional aspects of the craft, modern technology and ideas have been embraced to enhance and enrich his work. A laptop is used to record instrument and acoustic data
By its very nature violin making is a solitary occupation. Peter's approach is one of continual learning and development and collaboration with like minded colleagues provides that stimulus. He is a regular participant at the Oberlin Violinmaking and Acoustic workshops program in Oberlin, Ohio hosted by the Violin Society of America. In addition he has organised making events to promote the exchange of information and ideas amongst contemporary makers. The exchange of information is a powerful tool. Share an idea and it is returned sevenfold.
European Maple (Acer Pseudoplatanus) is chosen for the back, neck and ribs not only for the visual impact the figure provides on the finished instrument, but also because of its properties of hardness and elasticity.
Spruce (Picea Abies) for the front from the southern alpine regions of Europe is selected with strong even growth, good density and a high quality factor.
Peter's selection criteria places great importance on the quality of material and cut, the density, and figure of merit, elements essential for achieving consistency in sound quality. The wood will then be stored for several years before use.
