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oliver wadsworth, luhier
Description
Oliver Wadsworth. I am a maker of lute and early guitar family instruments. I am based in Worcester, England.
On these pages you will find details of the instruments I make along with other information and resourses that should be of use to instrument owners and makers alike. Please navigate around the site using the links around the image above or the text links below. Thank you for visiting.
On these pages you will find details of the instruments I make along with other information and resourses that should be of use to instrument owners and makers alike. Please navigate around the site using the links around the image above or the text links below. Thank you for visiting.
Category
Date
Feb 13, 2006
Contact name
Email
Link ID
12747
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Other links at Stringed Instruments, Manufacturers, Players > lute makers
Homepage der Firma Armin & Mario Gropp, klassische Gitarren und Lauten.
Mit der Wiedereröffnung unserer privaten Meisterwerkstatt im Jahre 1990 wurde die langjährige, ununterbrochene Familientradition im Musikinstrumentenbau fortgesetzt. Wir widmen uns dem handwerklich-künstlerischen Bau hochwertiger Konzertgitarren und Lauten sowie der Restaurierung historischer Zupfinstrumente.
Der Gitarren- & Lautenbaumeister Armin Gropp hat eine inzwischen über 50 jährige Berufserfahrung, die er seit 12 Jahren auch an die Studenten der Fachhochschule Markneukirchen im Bereich Zupfinstrumentenbau weitergibt.
Er widmet sich besonders dem Bau unserer hochwertigen Schülergitarren sowie unserer historischen Zupfinstrumente.
Der Gitarrenbaumeister Mario Gropp ist seit über 20 Jahren im Beruf.
Eine langjährige Ausbildung im Gitarrespiel ermöglicht ihm auch z.B. die Einrichtung der optimalen Spielbarkeit aller Gropp-Gitarrenmodelle, sowie die Umsetzung individueller Kundenwünsche diesbezüglich. Seit 1997 beschäftigt er sich intensiv mit der Konstruktion und klanglichen Weiterentwicklung der Gitarren-Spitzenmodelle „SPEZIAL" der Werkstatt.
In unserem Familienbetrieb verarbeiten wir elf verschiedene Hölzer für Böden und Zargen sowie Fichte oder Ceder für die Decken. Das Holzlager ist ca. 80 Jahre alt, teilweise älter.
Gute Erfahrungen haben wir auch in der Verarbeitung einheimischer Hölzer und im Bau kleinerer Mensuren.
Die Qualität unserer Instrumente wurde mit der Auszeichnung als "Anerkannter Kunstschaffender" und dem "Ehrenpreis II. Klasse im Musikinstrumentenbau" gewürdigt. Hervorragende Musiker weltweit bestätigen diese Auszeichnungen ...
Classical Guitars & Lutes:
The reopening of our private master craftsman's workshop in 1990 marked the continuation of a long, unbroken family tradition of instrument building. We specialise in making finely crafted, top-quality concert guitars and lutes and in the restoration of historical plucked instruments.
Master luthier Armin Gropp has over 50 years of experience in instrument making. He shares this experience with the students at the Markneukirchen Technical College, where he has been teaching luthiery for the past 12 years.
He specialises in building our high-quality student guitars and historical plucked instruments.
Master luthier Mario Gropp has over 20 years of professional experience.
His extensive training in guitar performance enables him to set up all Gropp guitars for optimum playability and to cater for the special wishes of individual customers.
Since 1997 he has focused intensively on the construction and advancement of the workshop's high-end "SPEZIAL" models.
Our family workshop uses eleven different woods for backs and sides, and spruce or cedar for the tops. Our stock of wood is approximately 80 years old, while some of the woods we use are even older.
We have also had excellent results from using local woods and building smaller-scale guitars ...
Mit der Wiedereröffnung unserer privaten Meisterwerkstatt im Jahre 1990 wurde die langjährige, ununterbrochene Familientradition im Musikinstrumentenbau fortgesetzt. Wir widmen uns dem handwerklich-künstlerischen Bau hochwertiger Konzertgitarren und Lauten sowie der Restaurierung historischer Zupfinstrumente.
Der Gitarren- & Lautenbaumeister Armin Gropp hat eine inzwischen über 50 jährige Berufserfahrung, die er seit 12 Jahren auch an die Studenten der Fachhochschule Markneukirchen im Bereich Zupfinstrumentenbau weitergibt.
Er widmet sich besonders dem Bau unserer hochwertigen Schülergitarren sowie unserer historischen Zupfinstrumente.
Der Gitarrenbaumeister Mario Gropp ist seit über 20 Jahren im Beruf.
Eine langjährige Ausbildung im Gitarrespiel ermöglicht ihm auch z.B. die Einrichtung der optimalen Spielbarkeit aller Gropp-Gitarrenmodelle, sowie die Umsetzung individueller Kundenwünsche diesbezüglich. Seit 1997 beschäftigt er sich intensiv mit der Konstruktion und klanglichen Weiterentwicklung der Gitarren-Spitzenmodelle „SPEZIAL" der Werkstatt.
In unserem Familienbetrieb verarbeiten wir elf verschiedene Hölzer für Böden und Zargen sowie Fichte oder Ceder für die Decken. Das Holzlager ist ca. 80 Jahre alt, teilweise älter.
Gute Erfahrungen haben wir auch in der Verarbeitung einheimischer Hölzer und im Bau kleinerer Mensuren.
Die Qualität unserer Instrumente wurde mit der Auszeichnung als "Anerkannter Kunstschaffender" und dem "Ehrenpreis II. Klasse im Musikinstrumentenbau" gewürdigt. Hervorragende Musiker weltweit bestätigen diese Auszeichnungen ...
Classical Guitars & Lutes:
The reopening of our private master craftsman's workshop in 1990 marked the continuation of a long, unbroken family tradition of instrument building. We specialise in making finely crafted, top-quality concert guitars and lutes and in the restoration of historical plucked instruments.
Master luthier Armin Gropp has over 50 years of experience in instrument making. He shares this experience with the students at the Markneukirchen Technical College, where he has been teaching luthiery for the past 12 years.
He specialises in building our high-quality student guitars and historical plucked instruments.
Master luthier Mario Gropp has over 20 years of professional experience.
His extensive training in guitar performance enables him to set up all Gropp guitars for optimum playability and to cater for the special wishes of individual customers.
Since 1997 he has focused intensively on the construction and advancement of the workshop's high-end "SPEZIAL" models.
Our family workshop uses eleven different woods for backs and sides, and spruce or cedar for the tops. Our stock of wood is approximately 80 years old, while some of the woods we use are even older.
We have also had excellent results from using local woods and building smaller-scale guitars ...
Category:
Jiří Čepelák: Vážení přátelé loutnisté i vy ostatní,
vítám vás na svých stránkách a předkládám zde kolekci nástrojů, které v současné době stavím. Jejich výběr je dán, jak mojí mnohaletou loutnařskou zkušeností, tak i požadavky loutnistů na nejrůznějších úrovních od začátečníků po profesionály. Všechny zde uvedené nástroje vycházejí z historických originálů, od nichž se ale v některých detailech odchyluji, aby nástroj vyhovoval dnešnímu loutnistovi. V dalších letech hodlám nabídku ještě rozšiřovat o další nástroje - nové modely louten, starých kytar a nástrojů příbuzných.
Případným zájemcům sděluji, že je třeba, abychom si vždy upřesnili některé detaily stavby tak, aby nástroj co nejlépe sloužil svému účelu. Mám tím na mysli například menzuru, ladění nástroje, uspořádání strun, rozteče a výšku strun a podobně. Stejně tak staré loutny byly mnohem více "stavěny na míru", než nástroje jiné.
Pokud ještě přesně nevíte, co byste chtěli, mohu vám určitý typ doporučit, budu-li vědět, co a jak chcete hrát. U popisů louten uvádím originální menzuru a počet sborů, lze to však v určitých mezích pozměnit podle vašeho přání ...
vítám vás na svých stránkách a předkládám zde kolekci nástrojů, které v současné době stavím. Jejich výběr je dán, jak mojí mnohaletou loutnařskou zkušeností, tak i požadavky loutnistů na nejrůznějších úrovních od začátečníků po profesionály. Všechny zde uvedené nástroje vycházejí z historických originálů, od nichž se ale v některých detailech odchyluji, aby nástroj vyhovoval dnešnímu loutnistovi. V dalších letech hodlám nabídku ještě rozšiřovat o další nástroje - nové modely louten, starých kytar a nástrojů příbuzných.
Případným zájemcům sděluji, že je třeba, abychom si vždy upřesnili některé detaily stavby tak, aby nástroj co nejlépe sloužil svému účelu. Mám tím na mysli například menzuru, ladění nástroje, uspořádání strun, rozteče a výšku strun a podobně. Stejně tak staré loutny byly mnohem více "stavěny na míru", než nástroje jiné.
Pokud ještě přesně nevíte, co byste chtěli, mohu vám určitý typ doporučit, budu-li vědět, co a jak chcete hrát. U popisů louten uvádím originální menzuru a počet sborů, lze to však v určitých mezích pozměnit podle vašeho přání ...
Category:
Grant Tomlinson, Lutemaker:
In 1975 I was introduced to the lute and its repertoire by Vancouver lutenist, lutemaker and lute historian Ray Nurse. Under Ray’s direction I learned the skills required to build lutes, but of perhaps greater importance I was guided into pursuing my own inquiry into surviving historical instruments. In 1978/79 I toured European museums for a full year: examining, meticulously documenting, and photographing most of the important historical lutes that survive. This direct experience of the instruments of Renaissance and Baroque lutemakers has given me a solid grounding in the traditions and aesthetics of the past masters. In 1986 I was awarded a Canada Council grant, enabling me to apprentice for a year with lutemaker Stephen Gottlieb in London, England.
Since my return to Vancouver, B.C. in 1988, I have worked fulltime as a lutemaker, producing instruments of the highest quality for both professional and amateur players worldwide.
Wherever possible, the models I have developed are based on those surviving instruments which exhibit the appropriate qualities, proportions and style for their musical requirements. Where a suitable model is lacking, I have worked out my own designs (usually drawing on iconographic evidence). All my instruments are based on a careful consideration of the surviving lutes and their musical repertoire.
I generally use the same materials as those found on surviving lutes (with the exception of ivory and some of the exotic hardwoods). I have an excellent supply of fine quality, seasoned timbers, which include German spruce, Pacific yew, curly and bird’s-eye maple, Swiss pear, English plum, Honduran rosewood and ebony. Hide glue is used throughout; this glue dries much harder than most modern glues, and helps to produce a clear-sounding instrument.
I make my own turpine-resin oil varnish. It is difficult and time-consuming to both make and apply this varnish, but the finished result in both richness of colour and subtlety in sound cannot be achieved with commercial finishes. My instruments are assembled at between 38 and 42% relative humidity, which makes them very stable and crack-resistant. All my instruments are built to the highest standards of craftsmanship, with careful attention to detail and overall design.
In 1975 I was introduced to the lute and its repertoire by Vancouver lutenist, lutemaker and lute historian Ray Nurse. Under Ray’s direction I learned the skills required to build lutes, but of perhaps greater importance I was guided into pursuing my own inquiry into surviving historical instruments. In 1978/79 I toured European museums for a full year: examining, meticulously documenting, and photographing most of the important historical lutes that survive. This direct experience of the instruments of Renaissance and Baroque lutemakers has given me a solid grounding in the traditions and aesthetics of the past masters. In 1986 I was awarded a Canada Council grant, enabling me to apprentice for a year with lutemaker Stephen Gottlieb in London, England.
Since my return to Vancouver, B.C. in 1988, I have worked fulltime as a lutemaker, producing instruments of the highest quality for both professional and amateur players worldwide.
Wherever possible, the models I have developed are based on those surviving instruments which exhibit the appropriate qualities, proportions and style for their musical requirements. Where a suitable model is lacking, I have worked out my own designs (usually drawing on iconographic evidence). All my instruments are based on a careful consideration of the surviving lutes and their musical repertoire.
I generally use the same materials as those found on surviving lutes (with the exception of ivory and some of the exotic hardwoods). I have an excellent supply of fine quality, seasoned timbers, which include German spruce, Pacific yew, curly and bird’s-eye maple, Swiss pear, English plum, Honduran rosewood and ebony. Hide glue is used throughout; this glue dries much harder than most modern glues, and helps to produce a clear-sounding instrument.
I make my own turpine-resin oil varnish. It is difficult and time-consuming to both make and apply this varnish, but the finished result in both richness of colour and subtlety in sound cannot be achieved with commercial finishes. My instruments are assembled at between 38 and 42% relative humidity, which makes them very stable and crack-resistant. All my instruments are built to the highest standards of craftsmanship, with careful attention to detail and overall design.
Category:
Paolo Busato, Lute maker:
Renaissance and Baroque Lutes,
Archlutes, Theorboes and Baroque Guitars.
As well as having had practical help from other instrument makers, my apprenticeship has largely consisted of making a close study of the historic instruments ...
I am particularly interested in doing further research on the lute making traditions that have made Padova famous: like those exemplified in the instruments made by M.Harton, V.Venere, G.Hieber, P.Railich and so on ...
Renaissance and Baroque Lutes,
Archlutes, Theorboes and Baroque Guitars.
As well as having had practical help from other instrument makers, my apprenticeship has largely consisted of making a close study of the historic instruments ...
I am particularly interested in doing further research on the lute making traditions that have made Padova famous: like those exemplified in the instruments made by M.Harton, V.Venere, G.Hieber, P.Railich and so on ...
Category:
Giuseppe Tumiati, luthier: Lutes:
Born in Milan (Italy) on 1960, at his time he attended fine art high school and Music school (piano)
on 1989 he gets the Civic School of Luthery of Milan
on 1991 he starts building his own instruments
since then he gets to a lot of exspositions and meetings in Italy and abroad
on 1993 he achieve the final digree as a Luthier and Restorer of Musical Instruments
his Instruments are implied professionally for concerts, recordings and performances all around the known world ...
assembly kits to build plucked string Instruments for Early Music ...
nasce a Milano nel 1960, a tempo e luogo frequenta il liceo artistico e svolge studi musicali (pianoforte)
nel 1989 entra alla Civica Scuola di Liuteria di Milano.
nel 1991 inizia la propria produzione di strumenti
da allora ha partecipato a innumerevoli esposizioni e convegni in Italia e all'estero
nel 1993 consegue il diploma finale di Liutaio e Restauratore di Strumenti Musicali
i suoi Strumenti vengono impiegati professionalmente per concerti, registrazioni e performances in tutto il mondo conosciuto ...
Kit di assemblaggio per costruire i piů usati Strumenti a corde pizzicate per la Musica ...
Born in Milan (Italy) on 1960, at his time he attended fine art high school and Music school (piano)
on 1989 he gets the Civic School of Luthery of Milan
on 1991 he starts building his own instruments
since then he gets to a lot of exspositions and meetings in Italy and abroad
on 1993 he achieve the final digree as a Luthier and Restorer of Musical Instruments
his Instruments are implied professionally for concerts, recordings and performances all around the known world ...
assembly kits to build plucked string Instruments for Early Music ...
nasce a Milano nel 1960, a tempo e luogo frequenta il liceo artistico e svolge studi musicali (pianoforte)
nel 1989 entra alla Civica Scuola di Liuteria di Milano.
nel 1991 inizia la propria produzione di strumenti
da allora ha partecipato a innumerevoli esposizioni e convegni in Italia e all'estero
nel 1993 consegue il diploma finale di Liutaio e Restauratore di Strumenti Musicali
i suoi Strumenti vengono impiegati professionalmente per concerti, registrazioni e performances in tutto il mondo conosciuto ...
Kit di assemblaggio per costruire i piů usati Strumenti a corde pizzicate per la Musica ...
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