I started making instruments as a teenager, and I think I was always more interested in the technology behind music, rather than in playing it. I use the word technology with reserve, because I am still fascinated by the 'magic' involved in turning wood and metal into something so controllable and flexible as a musical instrument. I am also captivated by trying to find where the good balance of an instrument lies and I don't find anything quite as satisfying than hearing my instruments played beautifully. I don't mean beauty in the true sense of the word but more in the control and direction of the instrument, the fact that players can manipulate this simple tube to express their musical wishes and feelings.
Anyway, to return to the story, I started an instrument making course at the old London College of Furniture in September 1979, en-rolling in the wind instrument section.
My principal teacher was the late Kenneth Collins, a shy, mild mannered man who had a great range of complementary interests. He was a fantastic craftsman, and had worked for many years at the Dolmetsch factory in Haslemere, mostly involved with the handwork on the windways and blocks of recorders. He had a great knowledge of workshop procedures, tool making and problem solving, but unfortunately knew very little about original recorders or tuning and voicing. With his help and encouragement, I completed my first instrument after a lot of late nights and mild frustration in time for Christmas 1979, when I proudly presented it to my brother as a Christmas present.
At that time there was a great deal of interest in making more historically based instruments and I jumped directly onto the bandwagon of the authentic movement. I read all that was written about old recorders and visited as many museums and collections as I could, playing, measuring and photographing their originals. I had additional tuition from Eric Moulder and Graham Lyndon-Jones, who were both professional woodwind makers and part time lecturers at the college.
I think it was quite early on that I realised I would have to travel if I were to make a business out of recorder making. The recorder scene in England was very large but extremely amateur and from a playing point of view, not nearly as wonderful as I had at first thought. So I travelled a lot in Europe, visiting both museums and music conservatories, learning about the original recorders at  the same time as trying to develop contacts with players. This practice carried on long after I had finished my course at the LCF in 1982 and had established my first workshop in Reykjavik. My contacts with players were essential, to give me the necessary feedback on my work, which as a rotten player, I was unable to judge for myself. Even now, with twenty years experience, I still rely a great deal on the opinions of my customers, to help me develop my work.