All Lutherie articles
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Premium ❘ FeatureUS school repair shops: close to home
In US public school music programmes, broken instruments can harm students’ learning and create stress for teachers. Rita Fernandes discovers the schools that are tackling the problem head on by offering free repairs via in-house repair shops
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Premium ❘ FeatureMy Space: Nurgül Çomak’s Istanbul workshop
The Turkish maker presents her workshop in the cosmopolitan city
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Premium ❘ FeatureMaking Matters: Smoke treatment in Stradivari's instruments
Did Stradivari apply a smoke treatment to his tonewood before starting an instrument? Joseph Nagyvary argues that he did, and examines how the process could benefit luthiers today
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Premium ❘ FeatureIn a spirit of collaboration: Brandenburg experiments
Makers at the annual Brandenburg violin making workshop joined forces on a two-year project to build and test two identical violins, one of which was made with treated wood. The results were intriguing. Adam Winskill reports on the methodology and findings
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Premium ❘ FeatureTrade Secrets: Even split, even grain
A simple method for joining plates with even grain orientation
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NewsAustralian Chamber Orchestra acquires 1610 Maggini viola
The instrument will be played by ACO principal viola Stefanie Farrands
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Premium ❘ FeatureIn Focus: A c.1880–90 viola by Enrico Marchetti
Sean Bishop examines the late-nineteenth-century instrument
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Focus‘Struck by the instrument’s unique voice’: playing the Pressenda double bass
Davide Botto, who acquired the Pressenda bass in 2017, describes the tone quality of the instrument
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FocusWhat violin does Nemanja Radulović play?
Luthier Francesco Coquoz shares thoughts on Radulović’s violin
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Premium ❘ FeatureMaking history: Pressenda double bass
Until now, it was believed that the Turin-based luthier Giovanni Francesco Pressenda had never made a double bass. Tsutomu Miyasaka reveals how an instrument was recently identified that rewrote the story
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Premium ❘ FeatureMaking Matters: an expert team varnishes a copy of the ‘Farina’ Montagnana cello
Mark Schnurr looks back at the process of varnishing a copy of the 1730 ‘Farina’ Montagnana cello at the 2024 Oberlin Violin Making Workshop
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Premium ❘ FeatureIn Focus: An 1822 violin by Georges Chanot I
Jonathan Marolle examines the French maker’s early instrument
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Premium ❘ FeatureMy Space: Francisco Núñez Gómez’s Santa Ana workshop
The maker presents his shop, located in Costa Rica
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Premium ❘ FeatureTrade Secrets: Making a paper template for a scroll
A procedure that allows for accurate reproduction as well as being a stimulant to creativity
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Focus’A distinctive golden aura’: cellist Jamie Walton on the 1642 Nicolò Amati cello
Jamie Walton, the current custodian of the Amati cello, reflects on its sound and projection
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Premium ❘ ArticleAnalysis February 2026: A decision on the fate of pernambuco
With the recent decision to keep pernambuco wood on CITES Appendix II, but with added restrictions, what are the implications for bow makers, dealers, auction houses and musicians?
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Premium ❘ FeatureIn the layers of light: the ground coat
What is the ground coat – and more importantly, what is it for? Pierre Flavetta examines the properties and visual effects of this mysterious pre-varnish instrument coating
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NewsWinners announced at Philharmonie de Paris 2026 viola making competition
Andreas Hampel took the top prize in the French capital, with Piotr Pielaszek, Marcus Klimke and Jonathan Magerl also picking up awards
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Premium ❘ FeatureSeven, they are seven: Nicolò Amati cello 1642
One of only seven known cellos by Nicolò Amati, this 1642 example is in an excellent state of preservation. Alberto Giordano examines its history and provenance, while Barthélemy Garnier discovers what its condition can tell us about the old Cremonese working methods, and Francesco Piasentini discusses CT-scanning the cello
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Focus‘Never will I part with it as long as I live’: Paganini’s quartet of Strads
Tully Potter takes a closer look at the four Stradivari instruments formerly owned by Paganini, and later played by the Paganini Quartet
