The work that I undertake is incredibly varied. I guess my main business is guitars, with setting up string height (action), getting rid of fret buzz, the odd 'Gibson-type' neck break at the nut.  I also supply and fit new hardware and do a lot of re-wiring work for instruments with pickups.

 

However I have also had some strange and interesting work brought to me which includes making new pegs for a Hurdy Gurdy, lowering and reshaping a bridge for a double bass, setting up violins and violas, taking a guitar that cost £50 from a charity shop and replacing the fretboard, bridge, saddle, nut and bridge plate and trying to turn it into a top quality guitar. The amazing thing is it turned out incredible and the customer has left a review to that effect.

 

I cannot control the kind of work that is brought to me and I surely wouldn't want to, as the variety is the spice of life for me.  I have had instruments that other local repairers have rejected (or raised the cost to get rid of the problem) and I managed to get them playable again. I have to always consider 'what does this instrument mean to this particular customer.'

 

When meeting the customer, I always discuss things with them. In this process I am trying to ascertain the emotional value that they put on the instrument. That is a hard one to assess. If the instrument has been in the family for one or two generations then who am I to say it is only worth £50? I had a ukelele banjo brought in for a complete restoration.

I work from a basic hourly rate and never exceed it. To me it is more important to ensure that each individual piece of work is done to the highest standard possible.

My immediate response was that it was old and a quite inexpensive instrument, but chatting with the customer he said the magic words 'it was my granddad's and he is very old now, I just want to learn to play it and play to him and then present it to him in playable condition.' That was enough said. I worked on that instrument as if it was worth £20,000.

 

So I cannot be the judge of the value of the work that I do. All I can do is try and get to know the customer, in the short time we have together, and attempt to make an honest assessment and advise them appropriately, taking all things into account. Is it worth the expense of the repair? That depends on many things and is not just about the financial value of the instrument.

 

I do my best to be clear on the costs, sometimes it is not possible due to the complexity of the request or the nature of the work, but I do my best to be fair and straight and to not disappoint.  I always give an estimate based upon my assessment of the work required and how many hours it will take me to complete.  I do not work from a standard price list because each instrument is unique and can have its own individual problems.  For example, what appears to be a simple fret buzz could be a result of a significant problem with the neck bowing.  So although many shops do give you a price list for repairs without seeing the instrument I just plainly believe that this not a good approach. 

 

One of my guitar making students was watching me work on a few guitars and he said 'The one thing that comes across to me is that no matter how expensive or how inexpensive an instrument is, if you take it on you give them the same level of attention and care.' I was delighted that he saw that because that is how I approach all of my work.

 

There are times though when an incredible and delightful instrument comes my way.  I was presenting guitar making skills and craft at a Hatfield show when the sculptor in the next tent brought his parents' banjo in to me.  It was badly tarnished with a broken velum and broken and rusty strings.  It would have been rubbish in many people's eyes.  I looked at the build and it was beautiful, I turned it over and saw the names:  'Camayer and Essex, Soho W1.'   I Googled it and found that Camayer and Essex were in business together in 1890 to 1900 and worked from Soho for some five years.  I restored that instrument to the most beautiful condition.  The photos are on this website and it was a joy to work on.

 

All this and I am still making custom instruments (guitars and mandolins mainly) and also teaching.  So my work is pretty busy but a joy.