We are lucky enough to own and play a number of exquisite handmade instruments.

Rosemary plays two conical bore wooden flutes, both of the simple-system (open-holed) keyless type, and each made by a renowned flute maker. Her longtime mainstay is an instrument made by Sam Murray of Galway, Ireland. Typically, Murray flutes are acquired only by getting on a substantial waiting list, but Rosemary serendipitously came across this one for sale in a music shop in Galway. Like many Irish flutes, it is made of African blackwood (also called grenadilla). It is well suited for the reedy, or "gritty" tone sought after by many Irish musicians.

Rosemary recently acquired a highly prized Olwell flute, which was custom made for her by Patrick Olwell of Virginia. Olwell instruments are renowned for their characteristic tone, which integrates a powerful "bark" with the warm sound of a wooden instrument. This flute has a somewhat sweeter, creamier sound than the Murray, and thus provides Rosemary with additional colors for her tonal palette. It, too, is made of African blackwood, and is outfitted with a lined headjoint.

Keith’s main instrument is a ten-string cittern (what the heck is a cittern?) built expressly for him by Paddy Burgin of Wellington, New Zealand. It is based on Paddy’s original “Shanghai Bouzouki” eight-string model, with the chief difference being the extra course of strings in the bass register. The top, sides, and back are made of beautifully flamed Tasmanian blackwood. This tonewood was selected because it provides tonal, timbre, and volume qualities that enable the instrument to be heard in an Irish session, where it must compete with various fiddles, flutes, pipes, etc. The cittern has a ringing tone with a long sustain – perfect for creating a full sounding accompaniment for Rosemary’s flute. For this instrument Keith uses DGDAD tuning, which is well suited to the Irish repertoire. Like many bouzouki/cittern players, Keith often uses a capo (typically at the 2nd or 5th fret) in order to obtain different tonal qualities.

Keith also plays a more typical four-course (eight string) Irish bouzouki made by Bill Petersen of Omaha, Nebraska. This is Bill’s “Level 2” model, and is a fine instrument that has a great punchy tone. The bouzouki’s top is spruce, and the back and sides are maple with a very nice flame. The rosette, tailpiece cover, and headstock veneer are all snakewood. The combination of these highly figured materials gives the bouzouki a very intriguing appearance. Keith usually tunes this instrument to GDAD, which is the typical Irish tuning.

Keith’s guitar was built in Ireland by Dermot McIlroy of Antrim. Dermot’s instruments are being hailed for their spectacular sound, their responsive playing qualities, and their exquisite workmanship. This guitar is Dermot’s A25c model, and is a concert size instrument with a cutaway. The top is cedar and the back and sides are English walnut. The binding must be seen to be believed – it is a layered combination of pearwood, rosewood, and sycamore. The neck is in the multi-piece UK style, built up of mahogany, sycamore, and walnut. The rosette is abalone, and the fretboard is ebony, and is sparingly elegant in its absence of markers or inlay. The guitar is a true joy to play, and has a wonderful airy, woody tone of the type often ascribed to Irish and English guitars – perfect for Celtic fingerstyle music. In addition to standard tuning, Keith also uses DADGAD, dropped D, open minor tunings, and a variety of other alternatives suited to particular tunes.

Keith’s guitar arsenal also includes a very nice Taylor 414ce, an Alvarez twelve string, and (horrors!) a 40th Anniversary Stratocaster Plus, which is a whole lot of fun and serves to remind him of his rock band days of yore.