Construction and Design
I make fretted instruments by the sea in An Rinn, Co. Waterford. My workshop is a small room in my family home, where I played pool and ping pong as a child. I have a stunning view of Faill a’Stáicín and the ocean, which will never fail to inspire me! The setting of a workshop is something that is extremely important in my opinion, and I’d like to think that this inspiration from nature impacts my instruments for the best. I only have the very necessary tools: a drum sander, routers, a go bar deck and a range of jigs, moulds and hand tools that are required to make the best possible instrument. A huge proportion of the work that goes into one of my instruments is done completely by hand. I’ve always wanted to work this way, and although there are faster ways to do it, I prefer to take the extra care in the coming to life of a musical instrument.
Sound
The sound of an instrument I try to achieve is what sounds pleasing to me as an experienced player. I’ve played endless instruments in my natural playing environment and I know what works for me, and for those who share the same taste in sound. Most of what I do comes from trial and error, and even some stumbling upon solutions! I like an instrument that fills the room, without being boomy. The perfect presence of an instrument for me is when it is difficult to pinpoint where the sound is coming from. However, I like a clarity in tone with no muddiness. For my bouzoukis, I like a weighted sound with strong sustain. Many bouzouki players get frustrated when in sessions or in ensemble settings, that the thinness of the bouzouki sound gets lost. This has been no stranger to me in the battle to find the perfect bouzouki. I take inspiration from Greek bouzoukis and guitars to find that depth of sound that bouzoukis sometimes lack. For me, that came about through a combination of bracing work and deeper sides. Luckily, I’m quite happy with the presence, depth and weight of sound of my bouzoukis, whilst always seeking to improve of course.
Woods
Even after a quick look at my website, one would notice that I don’t use the most normal tonewoods. I was raised to care for the environment to the best possible level I could. I feel that I am very lucky to be able to make instruments, but I’d like to cut down on exotic tonewoods as much as possible. I do make the occasional instrument from exotic tonewoods, but I’d rather reduce my environmental impact and work with Irish and European tonewoods as much as I possibly can. For backs and sides, I am a huge fan of the brighter tonewoods, such as maple and yew. Of course, the sound of these woods really works for me, bright but deep, and clearer in nature. I started working with maple for a few reasons, it looks absolutely fantastic - I think we take the artistic quality of maple for granted because it’s more popular, but I think it’s one of the most unique woods. I also think the fact that it has been used for the making of violins and older instruments for years is no coincidence. I have very seldom heard a bad sounding maple instrument. I also work closely with friends of mine who are involved in tree and garden maintenance, and my great friend Matt Lohan has been very kind in providing me with some stunning Irish woods, Yew and Bog Yew, dating up to 5000 years old. I feel really honoured to work with Irish woods in particular. If we can make music in Ireland with Irish wood from that long back - that’s just fantastic. Some of these woods can be very difficult to work with and crack easier than exotic woods such as rosewood, with a bit of extra work and care though, it’s definitely worth it!
For tops, I use cedar and spruce, though I’m open to working with other possible top woods such as redwood. I love cedar for bouzoukis and mandolins, it has an excelling warmth that makes such a homely sound. It’s very difficult to describe sounds, but cedar is like a warm blanket. It’s definitely my favourite. I sometimes like to make a string of instruments with cedar, then another string with spruce, as it makes it easier for me to get really familiar with the corresponding tap tones and personalities of each wood. However, what’s most important to me is that every single piece of wood is different. They have different sounds, different densities and different flexibilities. This requires them to be thicknessed differently. So even though the option of a cedar or spruce top starts a different sound, every single top I make will sound different, as I try my best to make every top sound how the piece of wood sits most comfortably. I think it is extremely important to listen to the wood and see how it wants to sing and work with it, instead of fighting it to be what you want.
For tops, I use cedar and spruce, though I’m open to working with other possible top woods such as redwood. I love cedar for bouzoukis and mandolins, it has an excelling warmth that makes such a homely sound. It’s very difficult to describe sounds, but cedar is like a warm blanket. It’s definitely my favourite. I sometimes like to make a string of instruments with cedar, then another string with spruce, as it makes it easier for me to get really familiar with the corresponding tap tones and personalities of each wood. However, what’s most important to me is that every single piece of wood is different. They have different sounds, different densities and different flexibilities. This requires them to be thicknessed differently. So even though the option of a cedar or spruce top starts a different sound, every single top I make will sound different, as I try my best to make every top sound how the piece of wood sits most comfortably. I think it is extremely important to listen to the wood and see how it wants to sing and work with it, instead of fighting it to be what you want.
Aesthetics and Art
Lutherie has always been a way of artistic expression for me and is often a safe space for me when life throws its challenges. The variety of grains, colours and textures in wood will never seize to amaze me and the majority of my aesthetic touches are made by laminating and combining different wood species and grain directions. The inlay of wood in wood will always be my favourite and decorative strips such as herringbone often take my fancy. I love simple, classy looking instruments; I like to keep my smaller details subtle, so that the player might find something new every time they study the instrument closely, but that the aesthetics don’t take over the bigger picture. I take inspiration from many luthiers, visual artists and woodworkers. We live in a wonderful generation where the internet is there for endless inspiration! Many thanks to those makers who will continue to inspire me! I also take inspiration from nature and architecture. I’d often see a shape I like and think of how it could relate to an instrument.
A few personal touches I have is my layered heel cap, from some beautiful small scrap wood I have left. That idea came after buying an old Paramount banjo and having a neck blank that was just a touch shallow for a bouzouki’s body, so I improvised, and it seems to have worked, now it’s a normal design feature! My logo is an oak leaf, as Macdara means “son of the oak tree”. I also like to use this leaf as I think it’s important to remember where the beautiful wood that I work with comes from and that I am, like a leaf, only a small step in the wood’s lifetime.
A few personal touches I have is my layered heel cap, from some beautiful small scrap wood I have left. That idea came after buying an old Paramount banjo and having a neck blank that was just a touch shallow for a bouzouki’s body, so I improvised, and it seems to have worked, now it’s a normal design feature! My logo is an oak leaf, as Macdara means “son of the oak tree”. I also like to use this leaf as I think it’s important to remember where the beautiful wood that I work with comes from and that I am, like a leaf, only a small step in the wood’s lifetime.
Finish
The finish of an instrument has always been something I have been very interested in. It is something that requires a lot of time, care and equipment. A finish needs to be strong enough to protect an instrument, thin enough to let the instrument sing, comfortable to hold and beautiful enough to embellish the wood. This is a difficult balance to strike and when perfected, is absolutely stunning and perfectly comfortable. I finished my earlier instruments by hand and learned to French polish from the video lessons of Robbie O’Brien. I spent a lot of time thinking about the finish however and I decided that a spray finish was stronger and more practical for 90% of musicians, playing in pubs and warm venues, where French Polish would eventually give in. My most recent instruments have been sprayed by James Maguire in Galway, thanks to the recommendation of Paddy Cleere. James does an AC Lacquer Finish and I’m very happy with the stunning work he does, getting a lovely high gloss finish (matte/satin available at request).
Specifications
Usual specs of instruments:
- Top: Western Red Cedar or Sitka Spruce
- Back and Sides: Maple, Yew, Walnut and a variety of hardwoods
- Neck: Mahogany or Maple with Laminations
- Machine Heads: Gotoh SG381 with Ebony Buttons
- Fretwire: Jescar Evo Gold FW37080
- Nut and Saddle: Bone (Vegan Option Available)
- Bridge: Ebony
- Tailpieces: 1mm Brass with Hardwood Veneer
- Binding: Rocklite Ebono or Various Hardwoods
- Rosettes: Various Hardwoods with Soundhole Binding