The first instrument was a 67 cm 6-course by Malcolm Prior based on the
Frei in Warwickshire County Museum, but slightly reduced in size relative to
the original. It is strung with Pistoy basses. Note the alternating light
and dark pegs as well as the alternating ribs.

The next two instruments were also by Malcolm Prior. This one is a 64
cm 9-course, on a yew body based on a Venere instrument in Vienna. It has
nine frets on the neck, as would be appropriate for Dowland.

This was another Malcolm Prior 6-course, with a 60 cm string length on a
9-rib body of figured ash and early barring on a relatively thick soundboard.
He did not follow any specific historical model. A sound file of Edward
Martin’s test of this instrument. (MP3, 1.23 MB)

Next, Richard Fletcher introduced one of his instruments. It is an 8-course Hieber
copy with a cherry back and European spruce top. A design feature found here that
is relatively uncommon on new lutes built today is the use of a parchment binding
or lace around the soundboard. A practical reason for this is to allow for removal of
the top without cosmetic damage. Richard quotes Thomas Mace as saying that the
top should be taken off a lute once a year for maintenance.

Here Ronn McFarlane is seen testing Richard Fletcher’s lute.
Audio of the demonstration of this lute by Ronn. (MP3, 1.51 MB)

The instrument presented after that was by Travis Carey, a builder
who resides in Saskatchewan (not pictured here, but see below).

The final instrument shown was by Ken Brodkey, who did not attend this year.
Note the beautiful job he did in matching the grain of the figured maple ribs.
Audio of Ronn’s trial of this lute. (MP3, 1.54 MB)

After the action was over, Travis Carey stepped outside to show off his
instrument in natural lighting for better photography. An audio file of
Ronn McFarlane’s test of this lute is available (MP3, 970 KB).