Lutherie – Page 2
-
Premium ❘ FeatureMaking Matters: Strategies to fix wolf notes
Eliminating a wolf note can be the bane of every luthier’s life. Linda Lespets passes on four methods that can help to solve the problem
-
Premium ❘ FeatureMy Space: Dínçay Gülenç’s Istanbul workshop
The luthier takes us on a tour of his Turkish workshop
-
Premium ❘ FeatureTrade Secrets: A new approach to bracing flat-back instruments
This system of ‘responsive bracing’ allows for the natural movement of the wood
-
Premium ❘ FeatureStars of Africa: South African tonewood
Wood physicist Martina Meincken presents the results of a study investigating whether indigenous woods of southern Africa might be suitable for use as tonewood for instruments
-
Premium ❘ FeatureA unique poster: ‘Paderewski, Wendling’ violin – part two
Expert and conservator Balthazar Soulier has curated this month’s poster which, for the first time, features an ‘original composite’ violin: the ‘Paderewski, Wendling’, made by Montagnana and Guarneri ‘del Gesù’. Here he places this unique instrument in context and highlights complementary information to enable a better understanding of the poster ...
-
Premium ❘ FeatureIn Focus: A 1937 violin by Giuseppe Castagnino
Alberto Giordano examines a 20th-century violin by the Chiavari-based luthier
-
Premium ❘ FocusAuction Report January 2025: The nice and the good
Kevin MacDonald finds a wealth of interesting lots at the October sales in London, from fine old Italians to a fiddle by a Cumbrian farmer
-
Premium ❘ Feature‘Through how many hands an instrument has to pass’ - From the archive: December 1904
Felix Herrmann reports on the violin making methods of Markneukirchen, and how the work is divided up among the neighbouring villages
-
Premium ❘ FeatureTrade Secrets: Repairing a bow stick
François Louant presents a method for attaching new wood to the stick at the frog end, when the original material is unsalvageable
-
Premium ❘ FeatureIn Focus: A 1924 violin by János Spiegel
Zoltán Délczeg examines a 100-year-old instrument by Hungarian maker János Spiegel
-
Premium ❘ FeatureMy Space: Mensur Avdić’s Tuzla workshop
The maker presents his workshop in Bosnia & Herzegovina
-
Premium ❘ FeatureMaking Matters: Speed of sound in bow wood
Why is it that a violin’s sound quality can change so radically with a different bow? Massimo Lucchi explains the principle behind the speed of sound in bow wood
-
Premium ❘ FeatureFive generations of the Weidhaas–Finkel bow making dynasty
Gennady Filimonov continues his survey of the great 20th-century German bow makers with a look at the Weidhaas–Finkel dynasty, which now boasts five generations in the profession
-
Premium ❘ FeatureMerchants of Venice: Venetian lutherie
In the 16th century, the Republic of Venice was a hotbed of innovation for stringed instrument makers – and the members of the Linarol family were at the heart of the trade. Stefano Pio explores the archives to reveal their fascinating and often colourful lives and careers
-
Premium ❘ FeatureTrade Secrets: Making a wooden peg shaper
A method for creating a model with an interchangeable blade
-
Premium ❘ FeatureMy Space: Yam Uri Raz’s Hawai’i workshop
The maker shows us around his shop in the city of Hilo
-
Premium ❘ FeatureIn Focus: A c.1740 viola by Johann Christian Hoffmann
Alex Krieger examines a viola by one of the best-known German luthiers
-
Premium ❘ FeatureMaking Matters: A violin made by ten luthiers
Over the course of a year, ten luthiers in nine countries made a violin together, sending each other the parts by mail. Christian Lloyd reports on the unique project ‘Violinabox’
-
Premium ❘ FeatureIn the zone: a one-person double bass repair method
For luthiers working alone, double bass repair can be a difficult task to take on. US bass maker Nick Lloyd presents his ‘Zone method’ for re-gluing a bass top using just one pair of hands
-
Premium ❘ FeatureLike father, like daughter: the Giorgis family of violin makers
New research in the Turin archives has uncovered fascinating insights into the life of the violin maker Nicola Giorgis. Claudio Amighetti reveals why Giorgis’s daughter Francesca Maria took over his workshop upon his death in 1745
