Beyond the Copy: A Conversation on Originality with Gregg Alf

"I don't think any of us can succeed at being better than Stradivari being himself," Gregg Alf remarks early in our recent sit-down in London. "And at the same time, we all can be certain of succeeding at being better than Stradivari at being ourselves."

It’s a powerful sentiment from a man who has spent over four decades at the pinnacle of contemporary violin making. For those who follow the world of fine instruments, the name Gregg Alf is synonymous with a specific kind of excellence; one that respects the past but refuses to be defined by it.

We recently had the pleasure of hosting Gregg at our MyLuthier showroom to welcome his latest creation, the GA263 (2025) violin. In a wide-ranging conversation, we touched on everything from the "rethinking" of antiquing to a once-in-a-lifetime discovery of 150-year-old Bosnian tone wood.

The Evolution of a Maker

Gregg’s journey began in the 70s in Cremona. For years, he was known for his impeccable bench copies, instruments that mirrored every nick, scratch, and tonal idiosyncrasy of the Italian masters. But as his career progressed, a shift occurred.

He describes it not as a sudden break, but as a gradual "giving more of myself." While the industry often demands strict adherence to Stradivari or Guarneri models, Gregg has moved toward a more organic, personal design. He still uses the classical outlines of the masters: the GA263 is inspired by a Guarneri model; but the execution is now freehand and intuitive.

"I’m not following a template," he explains. "I’m working organically... I want to work courageously."

Rethinking Antiquing: Aging Gracefully

For many, "antiquing" means creating fake cracks or simulated wear. Gregg is moving in a different direction.

He views the varnish as a "visual clothing" for the instrument. Instead of artificial damage, he seeks visual complexity. He wants a surface that is rich with layers of colour and patina, allowing the instrument to look deep and interesting from day one, but without the "fake story" of a simulated accident.

The goal is to create an instrument that can age gracefully. A "perfect" new surface makes the first inevitable scratch heartbreaking. A textured, complex surface, however, invites the musician to add their own story to the wood over time.

The Concept of the "Concert Violin"

What exactly makes a "concert violin"? For Gregg Alf, it’s about meeting the uncompromising needs of the soloist on the world’s biggest stages.

He describes his ideal acoustic as having a "laser sound": focused, direct, and capable of projecting to the back of a hall, but built upon a "warm body of sound." To achieve this consistency, Gregg blends traditional carving with modern science, using formulas to balance stiffness and weight. It’s this marriage of the subjective and the electronic that allows his instruments to feel "moldable" and responsive under the bow.

150-Year-Old Bosnian Tone wood

Perhaps the most exciting news from Gregg’s workshop is his recent acquisition of a rare collection of Bosnian maple cut in 1880.

Finding wood of this quality and age (nearly 150 years old) is extremely rare. Because the wood is already so naturally aged and darkened, Gregg won't need to apply the usual treatments. This find is so significant that Gregg refers to it as his "swan song": the material that will likely define the final chapter of his illustrious career.

From this wood, he plans to fulfill a long-held ambition: creating a matched quartet of instruments, treating the four separate pieces as one singular "16-string instrument."

Experience the GA263

The Gregg Alf GA263 (2025) is currently available to try at our London showroom. It is a deeply personal instrument built for the modern performer.

Watch the full interview and see the GA265 in detail here: https://youtu.be/fVvCB9myYfM

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