Hi! I’m Chet Bishop, the luthier in this shop…also the owner, bookkeeper, webmaster (riiiight!), purchaser of materials, shipper, sales representative and janitor. In other words, this is a sole-proprietorship, run pretty much by just me.
I began building instruments in 1999, because my youngest son needed a viola, and I was sure that the stores were charging too much. (They were not, most likely, but my indignation at the perceived “gouging” drove me to build my first instrument.) By the time it was finished, almost two years later, I was hooked, and the rest is history.
I wanted to learn more, but, at 45 (at the time), it was not possible to just drop everything and run off to school, somewhere. So I bought 70 old, broken, or neglected violins on eBay, including some factory seconds, and some “violin-shaped objects”, as I had no idea what was good or bad, yet.
I bought books, searched online, joined forum after forum, and absorbed whatever information was available.
I heard of various workshops and decided that my taking a week or so off work would not break the family budget, so I drove to places like Tucson, AZ, and Claremont, CA, as well as closer places like Murphy, OR. (I live about 45 minutes west of Portland, OR.) Each teacher had something to offer. (None of them made five-string fiddles. That was a later “revelation.”)
With every instrument I made, my goal was to eliminate all the known mistakes or flaws in the previous instruments. The result has been that with one possible exception, each new instrument has truly been “the best I have built”, so far. I attend shows and sell to people at those shows, as well as to those who find me online. The response of players has gotten better and better, over the years. That is gratifying, too.
I really enjoy repairing and building instruments of the violin-family (violin, viola, cello, and double bass…with five-string fiddles as a later addition.) I find it therapeutic and satisfying. Seeing the beauty of the wood itself, and seeing it transformed from a raw chunk of wood to a beautiful instrument which may last for centuries (some have, for sure,) is a real joy to me.
I have a large “stash” of domestic wood: heavily flamed Big Leaf maple, which I obtained when a fellow gave me an entire log, some years ago. For my orchestral instruments, I purchase European maple and spruce, as that is the preferred (and expected) combination for traditional violins. But there is more flexibility on violas and cellos, and, especially, on double basses, as tradition is a little more forgiving on the larger instruments.
But Five-String Instruments are not bound by tradition, so I can use whatever works well, and I do. There are combinations I would not try, because my experience tells me they would not work…but I am free to try new things because no traditionalist will speak up, and say, “Oh, no, you have to use Italian wood!” Hence, I may use cherry, apple, exotic woods like bubinga, local specialties, like Myrtle, or a host of others.
I have had to come up with my own design changes, as very few luthiers have taken the plunge into acoustic five-string territory; so I have to use what I know of acoustics, and stress, and try to apply it to the new instrument. The results have been very satisfying. I get a good C-string sound on a violin-sized instrument, and a good E-string on the same instrument.
I have continued to do repairs, as the need arises. I’ve done every sort of repair imaginable, except re-arching. The “restorations” I have done have turned out well, but when I see the work of fellows who can restore an instrument which has been run over by a car, I just shake my head: I know my limitations. However, I have gotten good results, in virtually all cases; partly because I try to treat each instrument I repair as if it is a priceless heirloom. You see, to the owner, that is exactly what it is: irreplacable.