More lutherie

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Making Matters: The simplest machine

2019-10-15T05:30:00+01:00

The humble wedge is a stalwart of the luthier’s workshop. Joseph Campanella Cleary examines some of the myriad ways they improve the quality of life for craftspeople

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Ask the Experts: choosing a new violin tailpiece

2019-10-03T12:00:00+01:00

A violinist asks what he should consider when choosing a new tailpiece – from the material used to the weight and shape

dendrochronology

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Are dendrochronology reports useful in valuing an instrument?

2019-10-02T15:00:00+01:00

Dealers and auction houses increasingly include dendrochronology reports along with high-value instruments, but how meaningful are they in verifying an attribution?

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Views on the Bridge

2019-09-27T11:21:00+01:00

In the second of two articles on set-up, Joseph Curtin investigates the acoustical role of the violin bridge and the interconnected relationships between mass, frequency and resonance

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Trade Secrets: Recreating original purfling

2019-09-17T13:45:00+01:00

Precision and care are prerequisites for this detailed restoration method

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My Space: Stefano Conia

2019-09-17T12:06:00+01:00

Cremona, Italy

More technical

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In focus: a 1929 violin by Paolo Guadagnini

2019-10-15T08:33:00+01:00

Richard Ward examines an instrument by the last member of the Guadagnini dynasty

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From the Archive: a violin by Joseph Rocca, Turin, 1847

2019-10-11T09:00:00+01:00

This illustration of a violin by Joseph Rocca was published in The Strad, February 1973. The following text is extracted from the article accompanying the photographs

Mystery_12_6_15

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From the Archive: a viola by Paolo Antonio Testore, Milan, c.1740

2019-10-10T15:00:00+01:00

This illustration of a viola by Paolo Antonio Testore was published in The Strad, January 1973. The following text is extracted from the article accompanying the photographs

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From the Archive: a violin by Nicolas Lupot, Paris, 1809

2019-10-09T12:00:00+01:00

This illustration of a violin by Nicolas Lupot was published in The Strad, December 1972. The following text is extracted from the article accompanying the photographs

Voller

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When does a violin copy become a forgery?

2019-10-02T13:00:00+01:00

There's a fine line between copying an instrument and forging a masterpiece. Alan Coggins offers a humorous perspective on the perils luthiers face when interpreting past masters

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From the Archive: a violin by Benjamin Banks, Salisbury, late 18th century

2019-09-30T10:00:00+01:00

This illustration of a violin by Benjamin Banks was published in The Strad, May 1970. The following text is extracted from the article accompanying the photographs

More historical