Lutherie – Page 14
-
Premium ❘ Feature1734 Stradivari violin ‘Willemotte’: Late… but worth the wait
Made when Antonio Stradivari was 90 years old, the 1734 ‘Willemotte’ bears all his hallmarks including a deep, complex tone quality
-
Premium ❘ FeatureIn Focus: A c.1750 violin by Santo Serafin
Jonathan Marolle investigates the mid-18th-century Italian instrument
-
Premium ❘ FeatureFrançois Nicolas Voirin: The style and substance of a pivotal bow maker
Matt Wehling on Voirin’s artistic and technical advances, which were implemented by most all French makers and paved the way for makers such as Lamy, Sartory and E.A. Ouchard
-
Premium ❘ Feature21st-century technology in lutherie - Making Matters: Augmented reality
Paul Noulet and Benoit Dupeux on how 21st-century technology can add to the luthier’s arsenal of violin making tools
-
Premium ❘ FeatureTrade Secrets: Making a scroll cast using foam
An efficient method of casting a scroll that eliminates the need for silicone rubber
-
Premium ❘ Feature‘The scent of fraud hangs about him’ - The Brothers Abell: Secrets and Lies
Follow the lives of two brothers embroiled scandals, lies and violins
-
Premium ❘ Feature‘There are several spirits that occupy the hotel’ - My Space: Huthmaker Family
The violin-making family takes us on a tour of their Atlanta, GA, workshop
-
Premium ❘ Feature‘This might be the smallest workshop ever featured in The Strad’ - My Space: Ilja Grawert
A look at the luthier’s travelling workshop near the Australian Whitsunday Islands
-
Premium ❘ FeatureThe Viennese double bass: The long pattern
In the 18th and 19th centuries, double basses made in Vienna had distinctive shapes and characteristics that gave them tremendous sound quality.
-
Premium ❘ FeatureTrade Secrets: A ‘plug and plate’ repair for a double bass neck
A detailed alternative method for a difficult neck and pegbox repair
-
Premium ❘ FeatureIn Focus: A c.1900 violin by Raffo Cipriani
Ernst Fuchs looks at the Italian maker’s late-period instrument
-
Premium ❘ FeatureMaking Matters: Artistic licence and the ‘true violin’
Is our understanding of violin history too heavily influenced by the old Italians?
-
Premium ❘ FeatureTrade Secrets: Making a cello and bass mould
A lightweight design for an adaptable method of working
-
Premium ❘ ArticleAnalysis October 2022: ‘Russia has control over the Siberian bow hair and isn’t moving much out’
Everything from Covid-19 to the ongoing situation in Russia has created a perfect storm for suppliers of good violin bow hair
-
Premium ❘ FeatureTrade Secrets: Gluing the C-bouts using a Cremonese mould
An alternative method for this part of the process, which may be more authentic than the standard procedure
-
Premium ❘ FeatureStraight lines within the arches of Stradivaris and Guarneris - Making Matters: Straight talking
Andrew Ryan investigates the presence of regular straight lines within the arches of the top and back in the instruments of Stradivari and Guarneri ‘del Gesù’
-
Premium ❘ FeatureInternational lutherie schools: All round learning
Peter Somerford speaks to teachers from seven violin making schools to find out the options for young aspiring luthiers
-
Premium ❘ Feature‘The building was a lampshade factory and still retains its industrial character’ - My Space: Mechthild Ossenbrunner
The luthier takes us on a tour of her and her husband’s Cologne workshop
-
Premium ❘ FeatureIn Focus: A 1932 tenor viola by Jacint Pinto
Jordi Pinto examines an unusual tenor viola made by his own great-uncle, Jacint Pinto
-
Premium ❘ FeatureNewark School of Violin Making: Fifty years young
The Strad looks back on 50 years of the UK’s best-known institution for lutherie and the many well-known names who have passed through its doors as students
