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The article offers information on the instruments crafted by the violin maker Andrea Amati which are now located at the Metropolitan Museum in New York. Topics discussed include authors visit to the museum where saw the three instruments including a violin, a viola, and a cello made by Amati, brief history of the violin which was made around 1560, and the first known cello made, designed and built around the time of painter Michelangelo.

A personal narrative is presented which explores the author's experience of building a five-string cello grounded in Baroque performance practices for New York Philharmonic principal cellist Carter Brey.

The article offers information on violin designs such as amati violin along with topics including creation of scroll in the instruments which consist of two parts pegbox and volute, spiral of Vignola instrument, and role of violin as amplifier.

In this article, the author offers information on the violin varnish during violin making that creates an dichroism effect and varnish recipes in the historical records.

The article discusses the basic parts of a violin and how the instrument functions and releases sound. It also tackles how the shape of a violin's top arch affects its motion, which in turn affects the character and sheer power of its sound. It also discusses the importance of the violin's brass bar and soundpost in the quality of its sound.

The article discusses the functional and aesthetic purposes of the art of purfling on musical instruments. Topics discussed include the reference to the three-ply black-white-black purfling strips at the top and back of the instrument, the signature purfling to cellos made by Ruggieri or Mateo Goffriller as well as the practical function of preventing cracks propagation with the changes in temperatures and humidity. Also mentioned the dyed pearwood, whalebone and wax on paper materials.

The article offers the author's insights on the history and characteristics of the bass bar of a violin. Topics mentioned include the shorter and lower style found in violins in the Baroque period, the role in supporting the top part of the violin and in distributing vibrations, and the use of studs that are glued to ensure the preferred setting in relation to the bridge foot.

The article focuses on making fiddles with the fingerboard as the part where one has the most contact with the instruments and therefore has to be done exactly right. Topics discussed include the need for the fingerboard's roundness to be exactly the same for the entire length, the need for makers to remove some wood to make room for its motions since the vibrating string is an arc and the fingerboard as the perfect place where a graphite substitute may be developed.

The article offers tips on caring for a violin or cello's bridge. Topics discussed include the costs of a cello bridge, the bridge representing a balance of flexibility and strength and has the ability to withstand the pressure of the strings, the role of the strings in preventing warpage of the bridge, tips on changing the strings and replacing one string every two days.

The article focuses on the structure of the musical instrument violin and making the bridge in its structure. Topics discussed include bridge on the violin is its beauty, violin as an amplifier with the vibrating strings, violin's body makes the strings audible, vibration is due to the mechanical resonance, bassbar distributing the vibrations, structure of violin is the expression of balance and fitting a bridge and crafting the crown.

The article discusses making adjustments to the soundpost of one's stringed instrument. Topics explored include the importance and difference between the soundpost and the bassbar of a violin, the transmission and amplification of complex vibrations by the soundpost, and reasons why it is necessary to seek adjustment assistance from a professional soundpost setter.

The article provides an answer to the question of whether replacing the bassbar of a violin will increase the carrying power of its sound.

The article discusses the importance of insurance coverage when buying or selling a musical instrument or bow. Musicians are advised to have their own coverage even if the shop they are dealing with has a policy that covers them during the tryout period. When selling a fiddle or bow on consignment, having detailed contract that specifies the exact terms, including the amount it is to be sold for is stressed.

The article discusses the consequences of repairing a crack on a stringed instrument like a violin. It claims that a damage on an instrument or bow will affect its value, and possibly its future instability. It cites, however, that not all changes on an instrument present negative results. It argues that repairing an instrument offers an opportunity to correct the errors in the way it was built originally.

The article discusses how to keep a brand-new violin get better as time goes by. It notes that most changes in new instruments happen by the time they are tried out and luthiers have learned that an instrument's first sound does not mean much. It indicates that the instrument is personalized by the player who is learning to play the instrument and will customize it to what suits them. It points out that sound is subjective and to get the best sound, one has to learn slowly and intuitively.

An excerpt from the book "Strings Guide: A Guide to Sound Production & Tone," by James N. McKean is presented.

The article discusses five instrument measurements that should be considered in buying the right-sized viola. These are the string length, body length, stop length, bout width and rib depth. It states that choosing the right-sized viola with the optimum measurements will help prevent strain and possible nerve damage. It will also make the viola player comfortable and able to perform at peak capacity.

The article discusses how proper string height can maximize the sound of an instrument. It details the physical and psychological effects of having a string that is too high, and shows how to evaluate string height. The article discusses how to measure string height, the need to know the difference between the soreness of normal exertion and real pain, and the importance of testing the instrument before leaving the repair shop.

The article suggests some products to eliminate the wolf-like or howling tones produced by a violin. It cites some instances wherein the wolf tone occurs when using various stringed instruments such as reaching a high tune on the G string on a violin and the production of the tone at its loudest on a cello when in the third position on the G string, usually an F or F sharp. To address this issue, products such as a resonator and the Rezx are recommended. Another option is a brass slug with a curved slot created by David Bice of New Harmony Music.

The article provides an answer to a question of finding the exact position of the bridge of a stringed instrument when it has fallen.

The article presents a question and answer related to storing a violin for an extended period during the hot summer months and also during the cold winter months.

An excerpt from the Strings Guide online resource "Improving Sound Production & Tone: Understanding the Role of the Bridge," is presented. INSET: A BRIDGE PRIMER.

An excerpt from the book "How to Install and Care for Cello Strings," by James N. McKean is presented.