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When I began making instruments nearly three decades ago, few manuals books on courses on instrument making existed. I quickly learned that by studying the design and construction methods of many old and proven instruments I soon understood the reason why "classics" existed. |
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Not only do these instruments have a harmony in exterior design but a functional and efficient interior construction, and, even if manufactured always had that little extra, the touch of the craftsman. |
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I have endeavoured over the past years to build that same beauty and simplicity of craftsmanship into all of my instruments. Concentrating on the interior construction I have refined my guitar bracing to emulate and hopefully surpass the great pre-war guitars so sought after today. |
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My mandolins also have the exacting and careful graduations in the carved top and back that the famous mandolins of the 1920's have. The Exteriors of all Sawchyn instruments have graceful lines and a subdued amount of inlay and decoration. The beauty remains in the wood, the finish and the workmanship. |
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The results are very evident. Guitars that respond to a subtle touch or a heavy attack, yet keep clarity and definition in their tonal character, and mandolins that respond quickly and evenly with power and grace. |
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In repeating what great vintage instruments have in their favour I am not attempting to duplicate them, but take the superb qualities that exist in them and build these qualities into a modern instrument for the future. This may be a "golden age" of instrument making, I hope my work is helping to make it so. |
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