Lutherie – Page 5
-
-
Premium ❘ FeatureIn Focus: A 1927 violin by Evasio Emilio Guerra
Andrea Schudtz examines the Turin maker’s early 20th-century instrument
-
Premium ❘ FeatureMaking Matters: Bridge position of the pochette instrument
One of the most unusual stringed instruments, the pochette can be found on show in many museum collections – but is it being displayed properly? Wim Raymaekers argues that the bridge position needs to be rethought
-
Premium ❘ Feature‘He was taking a very large elephant to America’ - From the archive: June 1904
Violinist Archie Easton presents some ‘reminiscences of John Frederick Lott’ (1804–70), including his brief spell as an elephant trainer for a circus
-
Premium ❘ ArticleAuction Report June 2024: Like father, like son
An Omobono Stradivari and two Vuillaumes were the standout lots during a varied spring auction season in London, as Kevin MacDonald reports
-
Premium ❘ FeatureThe luthier's guide to good customer relationships
As a general rule, luthiers tend to be better at making instruments than making friends. Violin maker Korinthia A. Klein gives some hints and tips on good customer relations – both for the people entering the workshop and for those running it
-
Premium ❘ FeatureTaking acoustic measurements from internal vibrations
Normally, acoustic measurements are taken from outside the instrument – but the internal vibrations can reveal even more. Colin Gough presents a method for listening inside the soundbox and demonstrates what it can tell us about the sound
-
Premium ❘ ArticleAnalysis June 2024: Is ipê an alternative for pernambuco?
With pernambuco in danger of being permanently off limits to bow makers, could another Brazilian hardwood – ipê – be the solution?
-
Premium ❘ Article‘She typed the name into Google and emitted a cry of astonishment’ - Letters to the editor: June 2024
A selection of letters The Strad receives each month from its readers around the world: June 2024 issue
-
Premium ❘ FeatureDecorating a bow frog: let the flowers bloom
A very specialist part of the bow maker’s craft is the addition of decorative inlay into a bow frog. Vladimiros Sorokin-Andreou presents his method for this intricate and delicate part of the process
-
Premium ❘ FeatureMy Space: Anthony Morton’s Greensboro workshop
Take a peek into the North Carolina atelier
-
Premium ❘ FeatureIn Focus: c.1810–20 bow by Christian Wilhelm Knopf
Matthieu Besseling on a bow by the Knopf dynasty’s patriarch
-
Premium ❘ FeatureA mystery unveiled: the makers of Ferrara
While scholars have scrutinised the making traditions of various Italian cities, the luthiers of Ferrara have been largely neglected – until now. Florian Leonhard presents the results of recent archival research into Alessandro Mezzadri and the Marconcini family, along with notes on their making styles
-
Premium ❘ FeatureTrade Secrets: An alternative rib construction method
Luthier Alan Beavitt shares an option that can guarantee an accurate overhang at the end of the process
-
Premium ❘ FeatureMaking Matters: New angles on old designs
Luthier J. Paul Anderson details an unusual commission from New Zealand, which required an innovative varnish ingredient: pumice
-
Premium ❘ Article‘I object to the way the old clichés are put out there!’- Letters to the editor: May 2024
A selection of letters The Strad receives each month from its readers around the world: May 2024 issue
-
Premium ❘ FeatureMy Space: Elina Kaljunen’s Helsinki workshop
The maker takes us on a tour of her Finnish workshop
-
Premium ❘ FeatureIn Focus: A 1759 violin by Joseph Marquès
Jordi Pinto examines the Spanish maker’s mid-century instrument
-
Premium ❘ FeatureMaking Matters: How to identify an expert bow maker
The ability to identify the maker of a bow is a rare talent that requires a keen eye and a wealth of knowledge. Jacques Poullot gives some pointers as to how to acquire such expertise
-
Premium ❘ FeatureTrade Secrets: Making a decorative fleur-de-lys
Luthier Evan Davenport illustrates a method to add a striking decoration to the back of a Baroque instrument
