The steps or method used to construct an instrument depend entirely on the “school” of the model being made. Since my personal interest is in the Italian sound of 1550-1750 I use the methods employed by the three leading schools of that era – Brescia, Cremona and Venice. The Cremonese method almost always involved the use of an inside form or mold as introduced by Andrea Amati. The Brescians, on the other hand, rarely used More
Lucky and happy to know such an enthusiastic man as Daniel, I availed myself of this opportunity to ask him some more questions about his work.
Daniel gave me so much information, such detailed answers, that I decided to split them up in three blogpost. Feel free to visit his facebook page www.facebook.com/danielhoffmanluthier !
So, in this blogpost (Part I), Daniel explains you why he likes the collaboration with the musicians and describes what sort of woods he uses to build his instruments. More
Wie erlebt ein Musiker den Verkauf seines Instrumentes, vor allem wenn dieses über 200 Jahre alt ist? Dieser Frage ist der amerikanische Journalist Daniel J. Wakin nachgegangen und gibt erstaunliche Einblicke in die Beziehung die ein Musiker mit seiner Geige oder seinem Cello verbindet. Den gesamten, sehr spannenden Artikel könnt ihr auf nytimes.com nachlesen.
“The violin is not only a friend. It’s something More
What makes a good violin, cello or viola? What makes a Stradivari or a Guadagnini that special? Who better than a luthier could answer these questions? We asked the American luthier Daniel Hoffman * ! More