Skill may be taught, but mastery is earned in the rhythm of long hours, discipline, and effort. Every master was once a novice who refused to stop, and Tan Chin Seng has managed to turn that craftsmanship spirit into a rare expertise. Although imitation is easy, the Malaysian luthier notes that producing a genuine, original instrument is a different level entirely—one where schooling alone isn’t enough. “Enrolling and completing in a violin-making school doesn’t automatically make you a good maker,” Tan says. “This is a craft and, to master it, you must do it thousands of times. The same goes for all great crafts.”

Many would argue that mastery comes only to those who begin young or whose upbringing predisposes them to it. Surprisingly, this intricate craft drew in a computer science graduate, who discovered violin-making almost by chance at the age of 30, while running his family’s small noodle factory. “At the time, I had been learning violin for a couple of years and wanted to have mine restored,” Tan recalls. “So, I flew to Beijing, where I met my first teacher. He said it would take 10 days to fix it, and I decided to spend some time in his workshop.” What began as a hobby soon turned into a passion after attempting to make his first violin. By 2015, he made the decision to leave his family business and pursue violin-making full-time.

Years after crafting his first violin, Tan is now an award-winning luthier, producing no more than 10 violins per year. Each instrument is meticulously sculpted in his second-floor workshop at Deciso Fine Violins in Kuala Lumpur, while the first floor displays his creations to musicians and collectors alike. “The beauty of this industry is in avoiding mistakes. Even if everything seems perfect on the outside, there are still parts that might go wrong,” Tan says. “But there’s something about the entire process that keeps me going. For me, the next violin is always the best one.”

1. Tan handpicks high-quality spruce for the top plate and maple for the back, ribs, and neck, sourcing much of it from Europe. Rather than choosing wood for appearance alone, he prioritises acoustic quality: “Good sound comes from wood that resonates easily and projects well—it doesn’t always come from the most beautiful-looking pieces.” The woods are then aged over time to enhance resonance and structural stability.

2. The wood is first rough-cut into model-specific shapes for the top and back plates. Tan then carves and planes them to precise thickness, which strongly influence the violin’s tonal character.

3. Using gouges and planes, Tan carefully shapes the arching of the top and back plates. He then refines the surfaces with a scraper to achieve smooth, precise contours.

4. The distinctive f-holes are cut on either side of the bridge using a sharp knife. These delicate openings are not merely decorative—they play a critical role in sound projection and tonal quality, allowing the body to vibrate freely and produce a balanced tone.

5. Thin maple ribs are heated—typically around 200 degrees Celsius—then bent around internal form blocks to shape the violin’s body. Once positioned, the ribs are glued to the corner and end blocks, defining the violin’s outline.

6. The top and back plates are fitted and glued to the rib structure, forming the violin’s hollow resonating chamber. Tan uses organic glue made from cow bone, then clamps the plates securely all around to ensure a strong bond.

7. From a solid block of maple, Tan hand-carves the neck and scroll, with the latter serving as a signature decorative element of each violin.

8. Multiple layers of oil varnish are applied to protect the wood and enhance the violin’s tonal warmth and colour. Each layer is left to dry for about 12 hours in an ultraviolet box.

9. Finally, Tan shapes and fits the pegs, nut, and bridge to precise dimensions, ensuring proper string height, spacing, and responsiveness. The violin is strung with synthetic and steel strings, which connect down to the tailpiece. Once installed, the violin is adjusted and fine-tuned.

Every violin that leaves Tan’s workshop is signed and priced at 12,000 euros (RM58,000). Beyond crafting new instruments, he also restores old ones and replicates antique violins. More recently, Tan has added handmade violin bows to his repertoire, giving musicians even more ways to enjoy his craftsmanship.

Deciso Fine Violins is located at 3-G Jalan Margosa, SD10/4A, Bandar Sri Damansara, Kuala Lumpur. For more information, visit here.

Photography by Law Soo Phye