Review: The Strad Facsimile — An Illustrated Guide to Violin Making by Edwin John Ward

Reviewed by Frederick Battershell

Originally published in American Lutherie #2, 1985 and Big Red Book of American Lutherie Volume One, 2001

The Strad Facsimile — An Illustrated Guide to Violin Making
Edwin John Ward
S.E. Ward, Kaneohe, Hawaii, 1984
Out of print (1999)

Reviewing any book can be a formidable task. Reviewing a book about violin construction can be downright hazardous! Consider for a moment the possible dangers: irreversible brain damage from attempting to understand the logic of the author; hearing loss from attempts by the reviewer at duplicating the electronic plate-tuning tricks so beloved of some contemporary makers; and last, but certainly not least, near blindness from trying to read the incredibly small type of some of these books. Fortunately, the work of a book reviewer isn’t always this bad. Every now and then, a book is written that appears to be a serious attempt at communicating basic knowledge about a subject to its reader. The Strad Facsimile — An Illustrated Guide To Violin Making by Edwin John Ward is just such a book.

The Strad Facsimile is a straightforward, but somewhat concise attempt at describing exactly how Edwin John Ward goes about constructing a Strad pattern violin. This book does have some limitations. It assumes the reader has a good grasp of basic hand-woodworking skills. It does not provide the reader with any information on comparative methods of violin making. The reader is left to do his/her own research into the alternative schools of violin-making technique.

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Three Holes are Better than One

by Robert Ruck

previously published in American Lutherie #91, 2007

See also,
“There’s a Hole in the Bucket” by Cyndy Burton
“Sideways” by John Monteleone
“Herr Helmholtz’ Tube” by Mike Doolin

Classical guitar maker Robert Ruck pioneered sideports for nylon string gutiars. He describes how the idea materialized out of several experiences going back to the begining of his career in the ’60s. A strong advocate, he now offers ports as an option on all of his guitars.

Since late 1999, I have regularly used sideports in my guitars. My experience with the resulting 150 or so ported classical and flamenco guitars with various designs is consistent, predictable, and all positive. There is an increase in loudness both for the player and for listeners. In listening tests with several fine players, we have concluded that the guitar is louder for the audience, too. The fundamental tone quality of the guitar stays the same, but it is louder, has stronger trebles, and has a more balanced quality for the player, opening up an area of sound around the player that is not normally heard. Since we as players sit somewhat asymmetrically to the guitar and the conventional soundhole is positioned to our right, there is an area on the left side of our heads that does not receive as much sound as the right side. We grow up hearing the guitar this way, so we never question it. Players comment that it’s as if one is hearing the guitar in stereo for the first time.