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The article reveals why Francesca Maria, daughter of Italian violin maker Nicola Giorgis, took over his father's workshop and build a number of instruments herself following his death in 1745. Topics include a background on Nicola's family, the hardships he and his siblings experienced after the death of their father, the possibility that Nicola had arrived in Turin, Italy by the age of 18, and an indication that Francesca Maria had continued her father's activity in the violin workshop.

The article focuses on French luthiers Joseph Arthur and André Vigneron and the influence of father and son on generations of bow makers. Joseph Arthur established a workshop in Paris in 1888 and became known among string players for his speed and accuracy and for making bows that worked extremely well. His most famous innovation is said to be the D section stick. Joseph Arthur and André collaborated to produce bows until the former's death in 1905.

The article offers information on reducing the risk of repetitive strain injury for luthiers by adapting their tools and workshops. Topics discussed include tools like palm planes from Veritas for precise force application; ergonomic task chairs like the HAG Capisco; and footrests such as the Rock-n-Stop for maintaining good posture and circulation during long periods of work.

The author describes his luthier workshop at the city of Hilo, Hawaii. Topics include the size and features of his workshop which he built as an extension of his new home, his plan to build a secondary workbench to accommodate larger projects like cellos, his use of Hawaii's natural beauty to decorate the workshop, and some of the handtools he used in the facility.

The article discusses the strategies of violin and bow makers in optimizing their sound spaces to assess an instrument's sound quality. Topics discussed include the measurement of the acoustical properties of workshops with the help of acoustic engineers, the addition of sound diffusers or sound absorbers to optimize room acoustics, and the use of bookshelves to absorb sound.

The article features the workshop of luthier Olivier Calmeille in Montpellier, France. Topics discussed include the music culture in Montpellier, advantages of putting many mirrors in the workshop, and the rooms in the workshop which include a showroom and rooms for testing instruments, repairing and restorations and making new instruments.

The article describes the workshop of luthiers Peter and Rory Boardman in Donaghadee, Northern Ireland. Built in 1979, the workshop is around 100 square meters and gets good natural light from the windows all around the building. It features moulds dating from around 1880 made by luthier Hugh Gordon of Stoneyford, County Antrim, a custom-made workbench and a wood-burning stove.

The article focuses on the lutherie workshop of Daniela Gaidano and her husband in Meltina, Italy. Topics include their journey to find the perfect workspace, their specialization in making the violoncello da spalla, and their hands-on research involving visits to musical instrument museums and interactions with traditional string makers.

The article provides a glimpse into various lutherie workshops worldwide, showcasing the organization and functionality of these spaces, while also highlighting the adaptability of workshop design for luthiers with physical disabilities. It also discusses the challenges and creative solutions faced by luthiers in setting up their workspaces, emphasizing the importance of accessibility and efficiency in the workshop layout.

The article features German bow maker Heinrich August Rau and explores his career and examples of his work. Topics discussed include Rau's mentorship of prominent bow makers, his personal background, his experience of apprenticeship as a bow maker, and his establishment of his independent bow making workshop in the town of Markneukirchen in Germany.

The article presents the discussion on Enrico Catenar, one of the earliest makers being active in Turin in the second half of the 17th century highlighting the connection between Catenar and the predecessor Johann Angerer inheriting Angerer's fortune and workshop.

A personal narrative is presented which explores the authors experience of being workshop in Toolo near the centre of Helsinki, for almost eight years.

A personal narrative is presented which explores the author's experience of establishing a violin-making workshop in Tallinn, Estonia, highlighting the challenges, community support, and adaptation to local conditions.

The author offers a look at his lutherie workshop located in a historical building in Zurich, Switzerland. He describes his workshop as a sealed-off section in the middle of a brewery with windows and natural light coming in. He considers the location of his workshop as a cultural hub and he tells about his main workbench made of maple and which has a vice built into the left-hand edge and a violin-shaped vertical vice along its right leg.

The article highlights three lutherie workshops, each facing the challenge of finding suitable spaces for their craft. Topics include violin making class, description of a small cabinet filled with clamps and set on castors, allowing for easy movement between workbenches, and teaching and hosting events in their respective spaces.

The article discusses the author's experience as a luthier based in Brescia, Italy, who discusses his workshop, influences, and experiences in instrument making. He also mentions his admiration for renowned makers, his use of molds, and his dedication to creating instruments for esteemed musicians.

A personal narrative is presented which the author shared his experiences as an Stringed instrument makers based in Montpellier, France and also described architectural detail of his workspace.

The article features luthier James Hanson and his workshop located in Lawrence, Kansas. Topics discussed include his training as a violin restorer, the layout of the shop's first and second floors, his connection with the fiddle community and music directors around the area, and his collection of wood.

This section features the workshop of luthier Steve Burnett in Edinburgh, Scotland. Topics discussed include the location of the workshop at an old building which he shares with other artists, his interest in Stradivari and Guarneri violin models, and the violin he made to commemorate the centenary of the death of explorer Ernest Shackleton.

This section features the workshop of luthiers Roland and Dixie Huthmaker in Suwanee, Georgia. Topics discussed include the way the building used to be the location of Rhodes Hotel that was built in 1880, the decision of the couple to adapt their workshop to the spaces of the historic building, and the use of social media platform YouTube by Dixie during the coronavirus disease 2019 (COVID-19) pandemic to keep the business going.

The article focuses on workshop situated in Ehrenfeld on the western side of Cologne as it used to be a scruffy industrial area, but several years ago it was gentrified and is now a trendy, chic area with lots of specialist shops and boutiques. Topics include examines in the 19th century the building was a lampshade factory and the workshop still retains its industrial character, such as the cast iron pillar in the center of the room.

The article discusses the life of Italian luthier Antonio Stradivari focusing on his imaginary workshops, violin performances, and paintings. Particular focus is given to the Italian business campaigns including War of the Polish Succession, War of the Spanish Succession, and the invasion of Spanish Lombardy.

The article focuses on the lutherie workshops of luthiers Elisa Scrollavezza and Andrea Zanrè of Parma, Italy. Topics discussed include the impact of the Covid-19 pandemic in 2020 on their business; and willingness shown by their customers to commission instruments from us without needing to come to the workshop during the pandemic.

The article focuses on Messia violin and its creation by luthier Antonio Stradivari 300 years ago. Topics discussed include presence of the piano in Stradivari workshop at the time of his death in 1737, a book by the priest Paolo Lombardini based on Stradivari, discovery of his testament by bassist Duane Rosengard and display of the violin and contents of his workshop by violins collector Count Cozio di Salabue after death of Stradivari.

The author reflects on his lutherie workshop located in Williamscot in the United Kingdom. He discusses his early exposure to double bass making, their conversion of the farm building into a workshop, the need for training of their luthiers, the average number of instruments being made per year, and their efforts in maintaining traditional methods of working.

A personal narrative is presented which explores the authors experience of being building a workshop changing the business structure completely in 2020 owing to the pandemic.

The author reflects on stringed music instruments that luthiers may take inspiration from. Topics discussed include his study of the Stradivari model instrument, the popularity of the Stradivari model instruments among students at lutherie schools, his love for Antonio Gragnani model, and other instrument models he worked on at his workshop.

This section offers music industry news briefs as of December 2022 on topics including the awarding of the MacArthur Genius grant to cellist Tomeka Reid, the destruction of the workshop of luthier Aidan Muholland due to fire, and the Culture Prize earned by violist Tabea Zimmermann.

The article focuses on Maria Sandner, a luthier based in Wallgau, Germany, discussing her shift to a new workshop with improved space and lighting. She specializes in crafting miniature playable violins and educational display cases, detailing the intricate process of making these miniatures and showcasing unique instruments in her workshop, including an 'octave violin' and an Alpine instrument called a Schossgeige.

The article delves into a historical forgery case where documents allegedly from Stradivari's workshop were discovered, shedding light on the elaborate scam that fooled experts in the past. Carlo Chiesa recounts the tale of how forgeries were sold and acquired by Leandro Bisiach, detailing the legal investigation that ultimately exposed the documents as fake.

The article focuses on luthier Jurgen Preyer's workshop in Arnhem, the Netherlands, providing insights into its size, location and the challenges faced during high humidity levels. Preyer discusses his approach to bass building, including the popularity of five-string basses and the importance of achieving a balanced sound.

The article focuses on the workshop of stringed equipment maker Antonio Stradivari in Cremona, Italy. It states that the workshop once formed a portion of the central quarter in Cremona. It notes that the workshop was previously used to repair and maintain church organs. It mentions that it was demolished in 1938 to make way for the La Galleria.

The article focuses on Giancarlo Arcieri's relocation from New York City to Florida due to limited workspace, leading to increased demand for repair work from musicians in Miami's vibrant music scene. It reports shift from focusing on iconic violins like Italian luthier Antonio Stradivari and Italian luthier Giuseppe Guarneri to prioritizing the optimization of player's instruments and preference for an efficient, detached work environment in Florida.

The article discusses the digitization of violin fingerboard which is a high-technology approach in creating a perfect model for fingerboards. It outlines the numerous ways on how to make a digital model of fingerboard by diverging the substantial areas of the surface. An overview of the workshop of lutherie Friedrich Alber in Montpellier, France is also provided.

The author reflects on her violin workshop located in Basel, Switzerland and mentions that workshop was earlier owned by Roland Baumgartner. She mentions that Basel is well placed for a violin workshop, with a large number of ensembles. The author mentions that many of her customers come across to Switzerland for repairs and restorations.

The personal narrative of the author is presented which explores the author's experience of being Luthier and discusses his workshop.

A personal narrative is presented in which the author talks about his workshop located eight miles away from Sao Paulo, Brazil, his work style of making bow stringed instruments and decorated ones, and how his connection to music and painting fascinated him to stringed instruments.

The article presents the discussion on world news briefs. Topics include violinist Fabrizio von Arx announcing the launch of a foundation dedicated to preserving the last house and workshop owned by Antonio Stradivari; French contemporary group Ensemble Intercontemporain winning the polar music prize; and a new string quartet competition being held on Germany from 15-20 April, 2023.

A personal narrative is presented which discusses the author's experience of opening musical instrument shop and conducting workshops.

The article provides information on the workshop of Argentinean luthier Damián Stoppani. He discloses that his workshop has been a 1970 Mercedes-Benz bus for the past five years as he travels across the Americas repairing stringed instruments. He also was able to make six violins, a viola, a cello and two guitars while traveling and had been involved with social projects and professional orchestras in every country that he visited.

The article discusses the future for violin making schools in the era of covid-19, the sharing of tools, and varnish ingredients including knowledge. Topics discussed include Musical Instrument Craft degree courses, catalysing of digital provision, and comprehensive plans that ensure students and staff are safe in our workshops.

A review is offered for the workshop Giorgio Grisales located in Cremona, Italy.

In this article, the author talks about his luthier workshops located in Japan which has the most elaborate design of them all with self-designed tools.

The article highlights the luthier Ekkard Seidl's instrument workshop from Markneukirchen, Germany. Topics include that he makes fifteen instruments a year with the use of Tyrolean spruce and Bosnian maple for Violin making; and variety of models such as Stradivari and Guarneri, and Johann Georg Schönfelder II.

Profiles stringed instrument maker Matthew Hardie of Scotland. Background on his enlistment in the South Fencibles, a defence regiment formed by the Duke of Buccleuch; Problem faced by Hardie with regards to his workshop; Details of the success of his business.

The article focuses on the life and works of stringed instrument maker Giuseppe Bernardo Lecchi. It states that he was an apprentice to stringed instrument maker Cesare Candi in 1923 and opened his own workshop in 1933. It notes that his earliest works shows the influence of Candi on his style and models, but is more classical in appearance. It mentions that he died on August 24, 1967.

In this article author discusses about her lutherie workshop, the Honorata Stalmierska, in Poznań, Poland.

A personal narrative is presented which explores the experience of luthier Pál Rácz of working in his workshop in Budapest, Hungary.

The article discusses Ron Fletcher who had bought a 1911 house in Westchester County where he now live and have his own 28 square meters workshop that allowed him to continue to make new instruments. It states that he lost some of his customers from Brooklyn but has gained as many from the Westchester area where he transferred.