About
About
With a background as a performer, teacher and examiner, Alan McGeoch has been making violins, violas and cellos for over ten years. His philosophy is simple: to make the best instruments he can, without compromise.
I'm often asked the same questions about instruments and instrument making and I'll try to answer them here.
What's it made of?
My approach is to choose the very best wood available, by always visiting suppliers in person to hand-select the spruce, maple/sycamore (sometimes poplar), willow and ebony required for each instrument. This way I also learn the provenance of each piece, an important consideration with regard to sustainability of stocks. When selecting materials, the acoustical properties are my first consideration. My wood is bought, already seasoned, years ahead of time and stored in humidity-controlled conditions, which allow it to further season and acclimatise, giving the instrument stability, and time to mature for optimal tone production. This 'conditioning' process involves subtle, natural, ongoing changes to the cell structure and to the chemical balance within the wood, mainly concerning starches and sugars. We are privileged to have such materials for making fine instruments and I respect this by using them as wisely as I can and with as little waste as possible.
How long does it take to make?
It may be from two months for a violin or viola, to three or four months for a cello added to which is time allocated for varnishing. All my instruments are sealed to stabilise the wood, giving you the benefit of an instrument more protected from changes in relative humidity and less likely to need seasonal adjustments. All my instruments are finished in oil varnishes giving you the benefit of this supple medium used in the great instruments of Stradivari and others of his era. Plenty of time is given for thorough drying between coats and then hardening for a number of weeks before setting up and adjusting. When the varnish is dry I then spend as much time as is necessary on setting up and adjustment to optimise the playability, response, tone, strength and projection of each instrument. To suit your unique requirements, adjustment continues while you are in the process of buying one of my instruments.
Surely it must be very difficult?
As to difficulty, it can seem so, but I simply start at the beginning and continue until it's finished. Maybe it is like a voyage to a new and exciting place which you can travel with increasing enjoyment and sense of anticipation. The majority of the work is done using hand-tools, mainly planes, gouges and scrapers, allowing the instrument to spring from the natural qualities of each particular piece of wood. After the instrument is made in the white, comes varnishing, setting up, testing and adjusting. Playing in is done by hand, not by mechanical means, because I believe that these pieces of wood - formerly parts of trees - need to learn how to play real music from the beginning. As a performing musician, this approach makes sense to me, and is supported by the many positive testimonials of those who appraise each of my instruments.
Why should I play an Alan McGeoch hand-made instrument?
As a Bachelor of Music with Honours, I have a wealth of experience in active music making including singing, playing, teaching (as a Principal Teacher) and examining, my aim always being for the performer and listener alike to enjoy the music and come out smiling. In addition to this valuable depth of insight into music and the needs of string players, to be shared with you in my blog, I have over ten years’ experience making instruments of the violin family. Time spent studying good instruments, the body of research evidence of recent decades, asking 'why' and experimenting to develop knowledge and skills in instrument design, acoustics and the best musical uses of the natural properties of wood is time well spent. Stradivari seemed to have always been striving for a perfection and that feels right to me.
My philosophy is one of continual improvement, led by feedback from players and listeners and my own natural desire to explore new approaches. I take meticulous care in setting up and adjusting instruments, with appraisal by experienced players. My interpretations of the great instruments of the early 18th century have been optimised and refined through time to give responsive instruments with great tone from the outset, while paying attention to the development of the sound as the instrument matures. All this comes together to make instruments that provide enjoyment and satisfaction for the player and their audience. To make this happen I like to work together with players of all backgrounds, skills and ambitions to create the instrument they desire.
Key points:
• Made by hand using traditional methods, influenced by the great masters• Finished in oil varnishes and glazes over a golden or ivory ground
• Full tone and excellent response, with choice of strength and projection
• All instruments appraised, adjusted and part played-in naturally
• Quality personal after-sales attention
• Instruments to buy, rent or order in various models and sizes. Purchase on terms may be possible
