Lutherie – Page 13
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The Strad Calendar 2022: Dutch treasures
The Strad Calendar 2022 showcases twelve of the finest instruments belonging to the Dutch Musical Instruments Foundation. Head of collection Frits Schutte outlines its work, while Hubert de Launay gives a tour of the riches
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Optical effects in Lutherie: Reflected Glories
Why do some instruments look completely different in varying kinds of light? In this lutherie feature from August 2013, Michael Molnar explains how an understanding of wood, varnish and their optical interactions can produce magical results
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Between the Baroque and modern age: Vuillaume’s ‘Messiah’ Strad
Stefan-Peter Greiner examines Vuillaume’s unorthodox method of fastening and extending the neck in his copy of the ‘Messiah’ Strad. From November 1996
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Viola sizes: Size does matter
Viola players everywhere know the difficulty in finding the perfect instrument – but how many realise the differences that size, shape and weight can make to playability and tone? William Castle gives a step-by-step guide to finding the one that’s right for you
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The geometry of violin outlines: Proportional representation
In this article from March 1990, Leslie Wyatt offers a rational and coherent geometrical method for the construction of an inner form outline and for sizing and positioning the f-holes, to break free from the traditional slavish reproduction of classical instruments
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Climate conundrum: Does wood from the ‘Little Ice Age’ account for the brilliance of Stradivari’s violins?
Did Stradivari have superior wood because of exceptionally low temperatures during his lifetime? In this article from April 2014, John Waddle, Steve Rossow and Steve Sirr investigate the idea using CT scans of Cremonese instruments
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The ‘Betts’ Stradivari: The progress of progress
A century after The Strad published its first article on the Stradivari ‘Betts’ violin, maker John Waddle asks what the magazine’s descriptions of the instrument reveal about lutherie expertise, and explains his latest high-tech analyses of the instrument. Taken from the May 2010 issue
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Markneukirchen: The rise and fall of Germany’s first violin factory
A small German town was the setting for an early experiment in violin mass-production. But outside economic forces threatened it from the very start. Arian Sheets traces its history, in this article from the April 2011 issue of The Strad
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Violin modal analysis – part two: Good vibrations
In the second of a two-part article from July 2009, Joseph Curtin continues his investigation of the low-frequency resonances that influence a violin’s acoustic behaviour
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Trade Secrets: Making a martelé button
A simple method for adding this small detail to your bows
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My Space: Gertrud Reuter
The luthier’s workshop, based in Basel, Switzerland, contains furniture from the Paris firms of Caressa & Français, Maucotel & Deschamps, and Daniel Moinel
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Making Matters: Something in the air
Steve Sirr and John R. Waddle use CT scans to examine the internal air volume of 20 Cremonese violins, and make a surprising discovery about the soundpost position
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Recording arching profiles: Ahead of the curve
Recording the archings of instruments is one of the most difficult areas of violin making and restoration. Charline Dequincey describes a method using dental compound which is accessible to anyone, and gives high-quality results
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In Focus: An 1865 violin by Samuel Nemessányi
Zoltán Délczeg details an instrument by a maker considered to be the most famous in Hungarian history
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Trade Secrets: An easy system for making a template and a mould
A method to create classical forms inspired by the work of the Cremonese masters
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My Space: Jamie Marie Lazzara
The luthier’s workshop, based in Florence Italy, is just six square metres and was used in the filming of Hannibal
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Making Matters: Thank you for sharing
CT scanning of instruments is becoming more and more commonplace – so why is it so difficult to get hold of the data? Harry Mairson and Paolo Bodini enter a plea for CT information to be made more accessible to luthiers and researchers
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Trade Secrets: Making a single-use mould
A method that can be used when making one-off instrument commissions
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My Space: Jan & Matthijs Strick
The luthiers, based in Brussels, Belgium, work in what they believe is the oldest workshop in Europe
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Making Matters: How to be a bow pro
Bow maker Gary Leahy presents a simple guide for players to care for their bows, as well as offering advice on how to improve a bow when it feels past its sell-by date