Glyn Jones, a modern, contemporary maker and repairer of Violin Family instruments
With over 35 years experience in the craft, It was during an Army career in aviation engineering back in 1988, that I chanced across a famous book on violin making, and, already enjoying a passion for the violin and it's music, I felt an overwhelming compulsion to make one. .....so the journey began..
I am mainly self-taught, as, with military commitments at the time, I was unable to take up formal tuition. However, learning alone, although difficult was a very rewarding route to take, and for me, demanded self-discipline and self-criticism in all aspects of my progress, and the learning continues as new experiences and skills evolve.
Supported with some distance learning from the Newark school in the early 90’s, I found I was taking every opportunity to examine instruments and absorb as much information and knowledge as I could. Consequently, my making and repairing was constantly being influenced and improved through honest criticism (good and bad) from the many makers and players I met along the way.
Originally established as a maker and repairer in the Wiltshire town of Amesbury from 1999 to 2024, I enjoyed a regular demand for new, commissioned instruments, I undertook a large and often challenging variety of repairs and restorations for both private players and schools alike, supporting the many local area string teachers and schools to keep the students playing as well as the more seasoned players too.
Now established in Bala, Gwynedd since early 2024, I continue to offer the same unique and personal service to my customers.
I remain faithful to the trusted, traditional techniques and materials pioneered by the grand masters of the Italian schools, and believe an holistic understanding of the instrument is vital to being a successful maker, as a broad knowledge of many disciplines will be called upon to create a living object from wood.
I do not produce copies but enjoy the challenge of identifying with a classical maker’s style and produce my own interpretation. I also welcome the opportunity to go ‘free style’ and develop contemporary instruments.
With over 35 years experience in the craft, It was during an Army career in aviation engineering back in 1988, that I chanced across a famous book on violin making, and, already enjoying a passion for the violin and it's music, I felt an overwhelming compulsion to make one. .....so the journey began..
I am mainly self-taught, as, with military commitments at the time, I was unable to take up formal tuition. However, learning alone, although difficult was a very rewarding route to take, and for me, demanded self-discipline and self-criticism in all aspects of my progress, and the learning continues as new experiences and skills evolve.
Supported with some distance learning from the Newark school in the early 90’s, I found I was taking every opportunity to examine instruments and absorb as much information and knowledge as I could. Consequently, my making and repairing was constantly being influenced and improved through honest criticism (good and bad) from the many makers and players I met along the way.
Originally established as a maker and repairer in the Wiltshire town of Amesbury from 1999 to 2024, I enjoyed a regular demand for new, commissioned instruments, I undertook a large and often challenging variety of repairs and restorations for both private players and schools alike, supporting the many local area string teachers and schools to keep the students playing as well as the more seasoned players too.
Now established in Bala, Gwynedd since early 2024, I continue to offer the same unique and personal service to my customers.
I remain faithful to the trusted, traditional techniques and materials pioneered by the grand masters of the Italian schools, and believe an holistic understanding of the instrument is vital to being a successful maker, as a broad knowledge of many disciplines will be called upon to create a living object from wood.
I do not produce copies but enjoy the challenge of identifying with a classical maker’s style and produce my own interpretation. I also welcome the opportunity to go ‘free style’ and develop contemporary instruments.
