Lutherie – Page 3
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Premium ❘ FeatureMy Space: Corvus Kwok’s Hong Kong workshop
The luthier takes us on a tour of his shop in Kowloon, Hong Kong
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Premium ❘ FeatureMaking Matters: Testing an instrument’s sound using weight ratios
In contrast to the normal practice of using tap tones to determine an instrument’s sound, Veikko Jaatinen presents a method based on the weight ratios of a violin’s various parts
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Premium ❘ FeatureIn Focus: A c.1750 violin by Michele Deconet
Peter Koerner examines the French maker’s mid-century instrument
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Premium ❘ FeatureThe Strad Calendar 2025: Canada’s crème de la crème
The Strad Calendar 2025 celebrates the work of the Canada Council for the Arts, which has been matching players with fine instruments for 40 years. Christian Lloyd takes a look at the collection’s highlights
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Premium ❘ FeatureTrade Secrets: Preparing the wood surface before varnishing
Samuel Peguiron shares a method involving a bespoke mixture and wood shavings
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Premium ❘ FeatureFrom the land of a hundred violins: Amedeo Simonazzi
The luthier Amedeo Simonazzi was born into a region with a strong native musical tradition – which is almost forgotten today. Stefano Pio reveals how his surroundings influenced his career
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Premium ❘ FeatureMaking Matters: Optimising sound spaces for good acoustics
Any luthier’s workshop requires a room or area with good acoustics to assess an instrument’s sound quality. Gideon Baumblatt and Simon Eberl explain how they optimised their sound spaces
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Premium ❘ FeatureMy Space: Olivier Calmeille’s Montpellier workshop
Examine the Atelier Scordatura in the south of France
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Premium ❘ FeatureTrade Secrets: Purfling and edgework after closing the box
A method that allows for more aesthetic freedom than completing the plates before finishing the soundbox
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Premium ❘ FeatureIn Focus: An 1845 violin by Johann Georg Stauffer
Jakob Nachbargauer and Adrian Elschek examine a mid-century violin by the successful Austrian guitar maker
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Premium ❘ FeatureCentre of attention: centring and alignment
Inspired by the work of the Cremonese masters, David Folland explains his method for finding the centre line of an old instrument
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Premium ❘ FeatureA unique pairing: the ‘Paderewski, Wendling’ violin
In the first of a two-part article, Balthazar Soulier examines an extraordinary violin that displays the hallmarks of both Guarneri ‘del Gesù’ and Domenico Montagnana
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Premium ❘ Article‘I have been obliged to deprive myself of the copy of my violin’ - Letters to the editor: September 2024
A selection of letters The Strad receives each month from its readers around the world: September 2024 issue
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Premium ❘ FeatureIn Focus: A 1796 viola by Sebastian Dalinger
Rainer Michael Cocron examines the Austrian maker’s late 18th-century instrument
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Premium ❘ FeatureMy Space: Peter & Rory Boardman’s Donaghadee workshop
The father and son duo present their Northern Ireland workshop
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Premium ❘ FeatureWhere science meets art: Positioning the f-holes
Inspired by the work of the illustrious Cremonese masters, Alvin Thomas King presents a practical method for modern-day luthiers to position the f-holes on an instrument
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Premium ❘ FeatureMaking Matters: the story and influence of bow maker Joseph Arthur Vigneron
Marking the 100th anniversary of André Vigneron’s death, Hamilton Caswell considers the influence he and his father Joseph Arthur have had on the generations of bow makers that followed, particularly on bass bows
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Premium ❘ FeatureA Stradivarian bow: a jewel of four facets
Recent research on the 17th- and 18th-century bows in the collection of the Musée de la Musique in Paris led to the attribution of a bow stick to the Stradivari workshop. Marie-Ève Geeraert and Jean-Philippe Échard shed some light on their discovery of this one-of-a-kind artefact
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Premium ❘ FeatureTrade Secrets: Bow tip replacement – part two
How to shape the new tip after having replaced the ebony and ivory
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Premium ❘ FeatureRaising the bar: Bass-bar experiments
Joseph Curtin reports on a series of experiments at the 2023 Oberlin Acoustics Workshop, which attempted to ascertain the acoustic effects of altering the height and scoop of the violin’s bass-bar
