Geared pegs have their advocates and detractors but, as Tom Stewart finds out, the innovation has benefits for a broad range of players, from young students to seasoned professionals
A peek into lutherie workshops around the world with The Strad. From the May 2018 issue [click + to zoom]
Figuring out the maker of an unknown violin takes a trained eye and a detective’s skill, says luthier John Dilworth. Here he gives his personal perspective on the clues and processes of elimination that help experts pinpoint an instrument’s origins. From the July 2010 issue
Have you ever wondered who makes the world’s stringed instrument bridges, and how? In this gallery, we follow the process from tree trunk to blank bridge
Were the old Cremonese luthiers really using better woods than those available to other makers in Europe? In this article from 2013, Terry Borman and Berend Stoel presented a study of density that suggested otherwise
Although there is no record of how the Cremonese makers finished their instruments, Dirk Jacob Hamoen argues that the final scraping was done after they had been strung up and played in the white
Seventeen-year-old violinist Clarissa Bevilacqua performs the Andante from Bach’s Sonata no.2 on the 1669 ‘Clisbee’ Stradivari from the collection of the Museo del Violino, Cremona.
Marked forever by Paganini and nearly lost in the snow by Piatti, this 1717 cello by Pietro Giacomo Rogeri has had a colourful history. Article by John Dilworth from the July 2009 issue
Dimitri Musafia shares what is likely the first X-ray of a case from the Stradivari workshop
In this video, violinist Rob Landes experiments with a violin made out of sheet titanium.
This article by Philip Kass was first published in the December 2010 issue, soon after the instrument had been sold to Anne Akiko Meyers for a then-record $3.6m