WORKSHOP
My work is inspired by the old lutes in the museums. The size, proportions, weight, type of materials is important for the result, and finally for the musical expression of the beautiful lute repertoire. All construction details and acoustic principles, grain direction in all parts, varnish and glue types is there for a reason. Thoughtfully made by the old masters. Learning to play the lute and build the instrument at the same time was a revelation for me and this journey continues.
I have visited important museum collections in Europe and had the chance to hold some of the old lutes and guitars in my hands for inspection. At Ringve Museum in Trondheim, Norway I have inspected and measured 6 instruments, mostly guitars and made technical drawings that may be ordered from the museum. https://ringve.no/tekniske-tegninger
On a visit to Museo Civico, Bologna in 1989 I had the chance to inspect the original Matteo Sellas archlute no.1748 and the Harton Bass lute (no.--- ) held by Monica Haugan (photos above). I may copy a specific instrument on request.
In my workshop I use traditional hand planes, scrapers, chisels , japanese saws and a few power tools. I use natural materials and hide glues for all my work. I use local woods where that makes sense and even very old recycled wood that has superior acoustical properties.
On a visit to Museo Civico, Bologna in 1989 I had the chance to inspect the original Matteo Sellas archlute no.1748 and the Harton Bass lute (no.--- ) held by Monica Haugan (photos above). I may copy a specific instrument on request.
In my workshop I use traditional hand planes, scrapers, chisels , japanese saws and a few power tools. I use natural materials and hide glues for all my work. I use local woods where that makes sense and even very old recycled wood that has superior acoustical properties.
Going to Mittenwald in 1996 I selected a stock of european spruce soundboards at Brüder Fuchs Gmbh.
Now, stored for more than 20 years in my workshop theese will go into future instruments. Last summer I got hold of some
maple and spruce for lute and guitar that is stored for about 40 years.
I use traditional methods either with varnish or french polish on my instruments. In both cases a top coat of natural waxes makes the final finish that may be repeated by the customer whenever needed. The varnish consist of natural oils, resins and drying agents. For french polish I always blend my own recipe prior to the job. I use two highly refined, dewaxed shellac types; dark golden brown and pale amber. Prior to polishing a coat of linseed oil seals the wood and gives it greater depth. It will accentuate the figure and deepen the color of the wood. In case of wear and tear, my finishes may be rejuvenated to a perfect new looking finish at any stage in the instruments life.
Many professionals bought my instruments that was made between 1988 and 2003:
Erik Stenstadvold, Rolf Lislevand, Vegard Lund, Thomas Boysen, Jarl Strømdahl, Andrea Baur, Njål Vindenes and Petter Richter - to name some.
My instruments are used on several CD recordings. Press the "AUDIO" button in the main menu.
Here is an article I wrote in 2010 about my favorite lute cd´s in the magazine Innerworld Audio. http://www.nuketest.eu/inner-magazines/news/229/57/Four-Favorite-Lute-CDs/