Lutherie – Page 46
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Premium ❘ FeatureTrade Secrets: Flattening planes
A sadly necessary task for all luthiers, which should have been taken care of by the manufacturer in the first place
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GalleryViolin Society of America: 2019 Convention
Dallas, Texas, was the setting for the VSA’a annual congress, where Sam Zygmuntowicz gave the keynote speech
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DebateBows of the 18th century have been ignored by string players for too long
Long neglected by the majority of string players, the bows of the 18th century make a huge difference to the way the music from that period is played, argues Jérôme Akoka
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FeatureWitnesses to the fall
First published in the March 2014 issue to mark 25 years since the fall of the Berlin Wall, nine string players and makers from the East and West sides here reveal the stark contrast between life on either side of the divide
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FeatureStradivari and the sharkskin sandpaper
This microscope image of what looks like a shark’s tooth embedded in a 1711 cell is evidence of dogfish skin, writes Joseph Campanella Cleary
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Premium ❘ FeatureLike Fathers, Like Sons
This year marks the 50th anniversary of the death of Émile Auguste Ouchard, as well as the 40th of his son Bernard – both regarded as among the 20th century’s finest bow makers. Thomas Martin, Andrew McGill, Martin Lawrence and George Martin examine the legacy of the Ouchard dynasty, particularly ...
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Premium ❘ GalleryFrom the Archive: the ‘General Kyd’ Stradivarius violin, Cremona, 1714
This illustration of the ‘General Kyd’ Stradivarius was published in The Strad, January 1962. The following text is extracted from the article accompanying the photographs
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FocusI shy away from copying models that are too individual, says violin maker Sam Zygmuntowicz
The luthier's favourite instruments provide ideal models for his own making
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Premium ❘ GalleryFrom the Archive: an ornamented violin believed to be the work of J.B. Vuillaume
This illustration of a violin by J.B. Vuillaume was published in The Strad, February 1974. The following text is extracted from the article accompanying the photographs
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FeatureWhy do violin bridges have a waist?
In this extract from his investigation of the acoustical role of the violin bridge, Joseph Curtin sets up an experiment with a waistless prototype
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Premium ❘ GalleryFrom the Archive: a Joseph Rocca violin, 1836
This illustration of a Joseph Rocca violin was published in The Strad, May 1938. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: a violin by Giuseppe Guarneri 'filius Andreae', Cremona, 1712
This illustration of a violin by Giuseppe Guarneri 'filius Andreae' was published in The Strad, April 1973. The following text is extracted from the article accompanying the photographs
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NewsInfluential Italian luthier Renato Scrollavezza has died
Born in poverty and initially self taught, he went on to mentor generations of violin makers at his lutherie school in Parma
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Premium ❘ FeatureIn focus: a 1929 violin by Paolo Guadagnini
Richard Ward examines an instrument by the last member of the Guadagnini dynasty
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Premium ❘ FeatureTrade Secrets: Arching, channelling and edgework
A method that unites all three parts of the making process, for a more coherent and efficient way of working
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Premium ❘ FeatureMaking Matters: The simplest machine
The humble wedge is a stalwart of the luthier’s workshop. Joseph Campanella Cleary examines some of the myriad ways they improve the quality of life for craftspeople
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Premium ❘ GalleryFrom the Archive: a violin by Joseph Rocca, Turin, 1847
This illustration of a violin by Joseph Rocca was published in The Strad, February 1973. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: a viola by Paolo Antonio Testore, Milan, c.1740
This illustration of a viola by Paolo Antonio Testore was published in The Strad, January 1973. The following text is extracted from the article accompanying the photographs
