Lutherie – Page 18
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Premium ❘ FeatureMaking Matters: The Sound of Science
Tom Croen reports on a 2019 experiment to discover how much variation in sound can be gained from fingerboard ‘tuning’ – and how alternative materials fare against traditional ebony
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Premium ❘ FocusTrade secrets: bending the slope on a viola da gamba back
Care and accuracy are both essential for this delicate part of the making process. By Gabriela Guadalajara, luthier based in New York, NY, US
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Premium ❘ FeatureUniversal Harmony: the ‘Four Circles’ system of violin making
Luthiers over the past three centuries have used a vast number of patterns for their instruments – but the basic geometric principles remain constant across them all. Kevin Kelly explains his ‘Four Circles’ system for instrument design, adaptable to violins, violas and cellos
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Premium ❘ FeatureDigital Amati: project luthier
A decade ago, François Denis’s Traité de Lutherie showed how the old Italians used Euclidean geometry to design their instruments. Now a computer program based on these principles allows luthiers to construct and adapt patterns quickly and easily. Its creator, Harry Mairson, explains the genesis of Digital Amati
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Premium ❘ FocusTrade secrets: a method for cooking oil varnish by Nicolas Gilles
A technique that relies on the senses and helps you get the right varnish for your needs, by Nicolas Gilles, luthier in Villeneuvette, France
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Premium ❘ FeatureSartory and the fake bows: Phoney war
One of France’s greatest bow makers,Eugène Sartory sued an unscrupulous American dealer who flooded the market with fake bows. Using the original court transcripts and contemporary news reports, Gennady Filimonov uncovers how the Frenchman sought justice
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Premium ❘ FeatureJacques-Pierre Thibout: violins fit for a king
One of the key Parisian luthiers of the early 19th century, Jacques-Pierre Thibout had a distinctive – and often innovative – making style. Florent and Serge Boyer examine ten of his violins to track its evolution, and show why he became luthier to King Louis-Philippe
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Premium ❘ FocusTrade secrets: An innovative method of neck setting
Gluing the neck to the ribs before the top and back plates allows for a more accurate and hassle-free process. By Hayato Nagaishi, luthier based in Cremona, Italy, and Tokyo, Japan
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Premium ❘ FeaturePressenda: Combined impact
Despite his instruments showing very little difference in form, Giovanni Francesco Pressenda was one of the most idiosyncratic – and innovative – Italian luthiers of the 19th century. Drawing on 20 years of research, Tsutomu Miyasaka reveals how his style reflected both the French and Italian makers of his day
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Premium ❘ FocusIn focus: a 1972 violin by Alfredo del Lungo
Alfredo Del Lungo began studying the art of violin making at the workshop of his father, Giuseppe Del Lungo (1883–1926), while also taking cello lessons at the Conservatorio Cherubini in Florence. In 1933, aged 24, he was appointed official luthier to the Stabile Orchestrale Fiorentina, which soon became the Orchestra ...
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Premium ❘ FeatureFingerboards: The lighter option
While the acoustics of the violin soundbox have undergone rigorous testing, the neck and fingerboard have been virtually ignored. Joseph Nagyvary reveals the results of experiments showing that a lighter material might be preferable to the standard ebony
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Premium ❘ ArticleTrade secrets: making and fitting purfling
A solution to the awkward problem of how to insert strips around the neck heel area, by Hans Pluhar
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Premium ❘ ArticleIn focus: Paul Dörfel
A 1920 violin made by the Markneukirchen-based luthier Paul Dörfel. Written by Bruce Babbitt
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Premium ❘ FeaturePersoit, the illusion solution
One of the most mysterious French bow makers, Persoit had a number of idiosyncrasies that give his works a uniquely light appearance. Through a detailed study of a single bow, Paolo Sarri shows his creative answer to the problem of bulky heads
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Premium ❘ FeatureAt the dawn of it all: making in Füssen
Nowadays best known for its neo-Gothic castles, the town of Füssen in southern Germany has possibly the oldest lutherie tradition of any in the country. Thomas Riedmillertraces its influence, from the foothills of the Alps to England, Vienna and Prague
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Premium ❘ FeatureVuillaume's Early Years: The Making of a Master
Jean-Baptiste Vuillaume was the most successful French luthier of his time, but the first years of his career are still shrouded in mystery. Jonathan Marolle examines some of his earliest instruments to uncover the evolution of his technique and style
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Premium ❘ FeatureMichel Collichon: The Magnificent Ten
Just a handful of instruments by Michel Collichon have survived to the present day – but they demonstrate the skill and techniques of a master innovator. With a tenth example recently identified, Shem Mackey explains the appeal of the 17th-century viol maker to modern-day luthiers
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Premium ❘ FeatureJacob Stainer: reviewing the situation
It has long been assumed that Jacob Stainer received some training in Cremona – but the theory rests on slim evidence. Rudolf Hopfner explores a middle-period violin using micro-CT technology to cast doubt on what we think we knowWolfgang Schneiderhan
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Premium ❘ ArticleTrade secrets: cutting f-holes
A methodical way of completing this elegant but delicate part of the making process by WILLIAM CASTLE, luthier based in Whitchurch, Shropshire, UK