For me the workshop is a place for meditation, concentration and atavistic pleasure.

There is nothing quite like the smell of wood, oil and varnish that builds up to make an intoxicating concoction.

It is something everybody remarks upon as they enter the space.

It is a place of childhood dreams and security.

Something awaits to be built from nothing but wood and glue.

It is a place where continuity and history share the future.

This is of course a romantic notion but one that reminds me each day of why I do this.

The processes I use in making my instruments have been gathered for many years  working as an artist and visiting makers from the Forest of Dean (John Foster ) to the Trossachs (Michael Ritchie) and gleaning precise working methods and good practice from them and many other established makers here in Britain and in Spain.

The workshop is not overburdened with heavy machinery and most of the work is carried out by hand, by me, in a solitary way.

I found the traditional Spanish method of building with a solera and a few hand tools to be the most suitable and uncomplicated method of building.

It is essential to store the valuable wood at constant humidity, in this case 40%. This allows me to bring it into the workshop and work for a few hours without causing any joint damage.

Here are some of the woods I am using at the moment

Madagascar Rosewood maybe subject to CITES. CITES (the Convention on International Trade in Endangered Species of Wild Fauna and Flora) is an international agreement between governments. Its aim is to ensure that international trade in specimens of wild animals and plants does not threaten their survival.

Madagascar Rosewood

The Wood store is kept at 40% humidity.

Lacewood Classic Ukulele -3 piece Pau Ferro back-Maple back -Pau Ferro back.

Classical Guitar -Madagascar Rosewood back Cedar Soundboard. Showing internal bracing pattern.