All Technical articles – Page 20
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Premium ❘ FeatureAsk the Experts: How to look after your bow
Four bow makers advise on how best to look after a new bow to maintain both its performance and potential resale value
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FocusTeaching lutherie the Red Wing way
Instrument repair requires great attention to detail, knowledge and patience – and teaching new students is no different. Here lutherie pedagogue Steve Rossow gives some tips acquired from his years of tutoring at Minnesota State College Southeast
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FocusA step-by-step guide to keeping your bridge healthy
Tuning your instrument will naturally pull your bridge out of position, so you need to overcome your fear of touching it – as well as knowing when professional help is needed, writes Adam Pelzer
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FocusRe-rediscovering the lost secrets of classical varnish
When Koen Padding died in 2012, the violin making community was not just bereft at losing a loyal friend but also thrown into confusion about whether his varnish making knowledge, on which many relied, was gone with him. As a collection of his writings is republished, we take a look ...
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FocusDo violin making competitions stifle originality in favour of perfection?
Peter Somerford asks what luthiers should do to maximise their success when entering a competition, and whether winning really is everything
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VideoThe most common types of violin makers, ep.2
Oslo based violin maker Jacob von der Lippe’s second compilation of violin maker types, from accident prone to always dusty. For the first video, click here
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FocusNew materials: Comparing violin tops made from various composites
Tim Duerinck reports on a research project investigating the possibilities of flax, carbon, aramid and more in violin making, while describing the surprisingly simple methods luthiers could use to create their own
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FocusCoruss synthetic bow hair
According to the manufacturer, Coruss synthetic bow hair matches natural horsehair in blind tests for tone and articulation. Compared with natural alternatives it offers greater durability and resistance to very humid or dry conditions, doesn’t degrade when stored for long periods of time, and uses no animal ...
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FocusHeart and soul: Anima Nova adjustable carbon fibre soundpost
An adjustable, carbon-fibre alternative designed to offer enhanced control to the luthier and superior sound to the player
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FocusMakers reveal their favourite technical solutions to common lutherie problems
Although new items for luthiers are always appearing on the market, violin making involves many tasks for which there is no perfect tool. Here, six makers describe the devices they’ve created for themselves
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FocusAnalysing the surprisingly complex geometry of the fingerboard
M.J. Kwan discovers how luthiers prefer to tackle the many questions of curvature and ‘scoop’ involved in creating a violin fingerboard
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GalleryCremona Triennale: the Olympics of violin making
Virginia Villa, director of Museo del Violino, previews the 15th edition of Cremona’s Triennale competition, which begins in September. Photos from the 2015 edition
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FocusTitanium: the perfect material for instrument fittings?
Tough and light, titanium is thought to be the leading material for stringed instrument adjusters and fixtures, but does the metal have acoustic benefits too? Peter Somerford investigates
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FocusGeared pegs: why isn't everyone using them?
Geared pegs have their advocates and detractors but, as Tom Stewart finds out, the innovation has benefits for a broad range of players, from young students to seasoned professionals
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FocusMy Space: Benedict Puglisi, Melbourne, Australia
A peek into lutherie workshops around the world with The Strad. From the May 2018 issue [click + to zoom]
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FocusA beginner's guide to identifying a Stradivarius
Figuring out the maker of an unknown violin takes a trained eye and a detective’s skill, says luthier John Dilworth. Here he gives his personal perspective on the clues and processes of elimination that help experts pinpoint an instrument’s origins. From the July 2010 issue
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FocusBuilding bridges: a photo essay
Have you ever wondered who makes the world’s stringed instrument bridges, and how? In this gallery, we follow the process from tree trunk to blank bridge
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Premium ❘ FocusDid the Cremonese have access to wood with unique special qualities?
Were the old Cremonese luthiers really using better woods than those available to other makers in Europe? In this article from 2013, Terry Borman and Berend Stoel presented a study of density that suggested otherwise
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FocusWhy is the thickness of the front and back of Stradivari's instruments so unpredictable?
Although there is no record of how the Cremonese makers finished their instruments, Dirk Jacob Hamoen argues that the final scraping was done after they had been strung up and played in the white
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VideoA real Stradivarius vs its faithful copy – Can you hear the difference?
Esther Abrami plays a violin by Stradivari and its faithful copy by Florian Leonhard side by side. The video was filmed by Wright Music Media at Florian Leonhard Fine Violins in London. The pianist is Alison Rhind.
