Who am I?

I studied violin making under Lucas Fabro of Fabro Violins from Cremona, Italy, working within the historical framework that shaped the great Cremonese masters. His training emphasized traditional hand-tool methods, disciplined plate graduation, arching geometry, varnish systems, and structural longevity, the fundamentals that determine not only tone, but the lifetime stability of an instrument.

Before turning exclusively to violin making, I spent five years teaching woodworking and before that operated a fine furniture company specializing in heirloom-grade work. That background instilled a deep understanding of wood movement, joinery under stress, seasonal stability, and long-term structural integrity, disciplines directly transferable to violin construction. Where many makers approach violin building primarily as lutherie, I approach it as advanced structural woodworking at the highest tolerances.

Craftsmanship runs in my family. My father was among the first journeyman carpenters in the Yukon, working in demanding northern conditions where precision and durability were not optional. My grandfather was both a journeyman carpenter and a master stonemason, trades defined by accuracy, patience, and structural permanence. From them comes an ingrained respect for materials, tools, and uncompromising build quality.

Each Jubb & Son violin reflects that lineage:

• Precisely executed joinery

• Clean, disciplined internal architecture

• Controlled arching and graduation

• Long-term structural reliability

• Traditional hand-applied varnish systems

• Meticulous attention to detail at every stage

These instruments are built not only to sound exceptional today, but to remain stable, serviceable, and structurally sound for generations.

A Jubb & Son violin is the convergence of Cremonese training and northern craftsmanship, an instrument built with the technical discipline of a master woodworker and the tonal sensitivity of a dedicated violin maker.