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ිනින්න්න්මක්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්නන්න්න්න්න්න්න්න්න්න්න්න්න් න්න් කෙමීදුට්න්න්න්න්න්
ᴀ, ᴀ ᴀ ᴅ ᴅ ᴋ, ᴋ ᴅ ᴂᴀ ᴅᴉᴊᴊ ᴀᴏᴀ ᴀ ᴄ ᴀ,
ᴀᴅ ᴀ ᴀ ᴂ ᴅᴇ ᴀ ᴀ ᴂ ᴀ,
carne ᴀᴇ ᴂ ᴅ ᴀ ᴅ ᴀ ᴀ,
ˋ ᴀ ᴅ ᴀ ᴱ ᴀ˓, ᴀ ᴀ,
ᴀ ᴀ ᴀ okay,
ˋ ᴀ ᴅ ᴀ ᴅ ᴀ Σ,
It was a kit from back east.
That's when I started realizing that that's what I wanted to do.
I think there are a lot of different arts within the art as well,
because there are so many different aspects to building an instrument.
You have to be a good metal worker, good wood worker, good gold leafer, finisher,
and then when it comes right down to it, you have to be able to voice it and tune it
and do all of that stuff to actually make it into a musical instrument.
So it really is an art form but several different types of art is in there.
I remember when I first started building I would cut myself quite badly
with each instrument I did and then after about five instruments
I obviously didn't cut myself anymore and I haven't cut myself for years and years
so obviously there's some sort of efficiency that you get in there
with knowing where to have your hand in relation to where the chisel is going to be.
There's that but also being able to have an efficiency of movement.
If you're doing 2,000 of a certain part,
you have to be able to know the optimum way to actually create that
and really you can't do it any other way except by hand.
I've always been one to do things by trial and error, lots of error, lots of trial.
But the instruments that I started building within one or two
I could really kind of see where I was making mistakes and things like that
and then it was pretty seen after that that they were pretty decent instruments.
It was probably about 1980 that I really decided to go after proper woods
so I went to Europe and spent a lot of time sourcing out woods there
and go to certain museums and getting drawings and measuring instruments,
photographing, things like that.
What I like about the old instruments, the ones that I'm actually targeting in museums
is the sound and if you analyze what the wood is and you analyze the shape of it
pretty much if you come back and build something roughly the same shape
and using roughly the same woods you're going to come out with a half decent sound.
To wet down the whole thing so I've actually got a steamer box that I can use for certain ones as well.
My favorite part of the instrument making process is when I get to sit down at the Orphium Theater
or the Queenie or something and actually listen to my instrument being played.
I'm trapped here with the jackrel off.
I'm really proud of the fact that I can make it a handmade
but not make it look handmade
because I've seen instruments that were built by machine
and they look like they were handmade.
So the idea is to be able to have it like a little jewel,
from all aspects that you look at it.
It's going to look really, really good
and it's going to have kind of the maker's mark on it just by being able to look at it.
