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I've been playing the violin since the age of seven. I was a scholarship student studying with Olga Bloom at Hofstra University, and later with Dr. Anne Yarrow at Molloy College where I received a B.A. in Violin Performance.

My father, Joseph Maday, is a Master Woodworker and Mechanic. Early on he gave me the skills I would need to make my first violin at the age of fifteen. At that time I received generous amounts of advice and guidance from the gifted violin makers Vincent Obrien of New Hyde Park, and William Huggler of Amityville.

For over 20 years I was under the tutelage of the legendary Boatbuilder, Bayman, and Philosopher, Philip A. Simon of Woodmere Bay. His constant reinvention of simple, seemingly improvised, traditional work methods have been applied to just about all aspects of my instrument making career.

I am very thankful for my longtime friendship with Clifford Roberts, the master violin maker of Philadelphia. Over the years he has given me immeasurable amounts of help and encouragement.

I am also indebted to the great William Monical of Staten Island. He freely shared with me his precious time, and boundless knowledge of viol family instruments. His indefatigable enthusiasm is infectious.I am moved by it to this very day.

I worked with the Kolstein family of Baldwin and then for many years with master violin maker Joseph F. Tripodi of Lynbrook, NY. From Joseph I learned the power of awareness, the confidence to question, and the importance of relentless self-education.

I opened my shop in 1982. I have worked unceasingly since that time on the handmaking of artist class instruments. I make instruments to custom order, and I also make instruments that are for immediate purchase. Please call for availability of desired model and current completion schedules.

All my patterns are developed from the old masters. I use as my study instruments, pieces which are in museum collections and many which are privately owned. Exceptional tonal qualities and noticeable visual beauty are of utmost importance in chosing these examples. Over many years of making, these models have become personalized in most all respects. Advice from soloists, quartet players, chamber players, orchestral players, conoisseurs, collectors, respected makers, artists and historians, combined with my own experience, research and intuition, have resulted in a continual refinement of the whole process.

When a musician orders an instrument from me, we discuss extensively his or her preference for sound, tonality, and related playing qualities, the actual feel of the instrument (both physically and psychologically), overall appearance, wood selection, varnishing, types of fittings, and any ornamental embellishments.

Some players may instead prefer to purchase an existing instrument. They receive more comfort in being able to try out one or more instruments before actually committing to a purchase. In this situation, please call the shop to see what is currently available.

Please take a moment to visit the rest of the site. I'll gladly give personal attention to any inquiries. Please see the About Us page for contact information.