The Luthier: Violin-Making in the Modern Era

Master artisans honor a centuries-old heritage

while adapting to the demands of today's musicians

Jiahui Lin

There is no doubt that technology has revolutionized the way in which businesses are conducted. But some industries still rely on traditional skills and tools that have stood the test of time for centuries.

One such craft is violin-making. The craftsmen are called luthiers. They meticulously make stringed instruments by hand using basic tools and their own strength.

"I think of ourselves a little like blue-collar artists," says Eric Benning, a master violin-maker.

"We are making artwork, but it's artwork that has to perform."

Although every luthier has their own technique when creating their instruments, there is a common thread: they all have a deep passion and commitment to their craft.

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Benning grew up in a family of violinists and violin-makers. At the age of 9, he fell in love with creating instruments, especially since he had little interest in playing them. He left that to his brother, who is an accomplished violinist.

These are handmade cellos in the exhibition room at Benning Violins in Studio City, in LA's San Fernando Valley.

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"It is not easy at all being a violin-maker," says luthier Michael Fischer. He is originally from Germany and has been making stringed instruments for more than 40 years.

Fischer says he prefers making copies of old instruments. Nearly all the work is done by hand. In fact, through all those decades, he has made a total of about 290 instruments.

Although Fischer, who is based in Los Angeles, has had his share of ups and downs as a luthier, he says he couldn't imagine doing anything else.

Each violin has its own style and characteristics. Christopher Majdoch, a sales and project manager at Charles W. Liu Fine Violins in Los Angeles, says that "even though instruments are made by the same maker in the same period, each one has their unique voice."

Stradivarius instruments, made by the Italian family Stradivari in the 17th and 18th centuries, are known for the attention to detail in every aspect and their rich tones. On the other hand, violins made by the Guarneri family of Italy, which rivaled Stradivari, are more rough and wild, with deep, powerful tones.

The craft of violin-making is a centuries-old art form that has been passed down from generation to generation. This legacy dates back to early aristocratic culture, yet contemporary violin-makers are finding ways to keep the craft alive and blossoming.

Violin-making has evolved over time, and now classical stringed instruments are used not only for traditional music but also as part of pop music.

--Photos by Jiahui Lin

Scott Lau plays his cello.

Fischer varnishes a violin.

Violin-making is also like painting.

Lau plays his cello in a different way: pizzicato.

Fischer makes varnishing on violin's body.

Soundboards in Fischer's studio

Violin exhibition in Charles W. Liu Fine Violin.

An unfinished violin soundboard.

Eric Benning shapes a violin bridge.

Tools for carving the violin.

Eric Benning makes a violin bridge.

Michael Fischer in his studio.

SEARCHING FOR THE BEST SOUND

"Finding your own violin is kind of finding your soulmate: it's like a marriage," says Christopher Majdoch. He believes that every musician has a unique standard for how a violin is chosen, and sometimes scouting for the right match can be long and difficult.

Musicians and artists can choose a variety of instruments: traditional baroque, electric modern or acoustic violins.

The price range for violins is wide. A factory-made violin can cost $300. A handmade Stradivarius can cost up to $22 million.

There are several factors that affect the sound quality of a violin. Master violin-maker Michael Fischer points out that the quality of the wood used for the instrument's body, which is the violin's soundboard, makes a significant difference. Maple is often the wood of choice, he says. Other details that affect the sound quality include how the scroll-the curved head of the instrument-is crafted, as well as how much of the violin's body is arched.

There are several levels of violins: beginner, student, professional and the fine-art, high- professional level.

At the beginner level, some violins are factory-made and available from multiple companies. The cost is $300 to $400. Most student-level violins are priced between $1,000 and $10,000. Most of the instrument is created with duplicating machines and then finished by hand. At the two highest levels, violins are all made by hand. Prices range from $20,000 to $22 million.

Below are the four levels of violins. Each one generates a different type of sound quality.

A RENAISSANCE

German and Italian violin masters from the 17th to 19th centuries are still recognized as the best in their field. Antonio Stradivari and Guarneri del Gesu were two of the greatest master violin-makers. Both were from Cremona, Italy.

In the modern age of violin-making, American-and Chinese-made violins have gradually improved their reputation in the violin-making industry. As a result, musicians have more options that are more affordable.

Stringed instruments are increasingly incorporating technology.

Younger musicians are now focusing less on who made their instrument and more on what kind of sound they can achieve, especially those who want to play more unconventional music.

"As a musician, you just use your ear to tell if the violin is, or if the instrument is, good or not," says Scott Lau, a pop music major at the USC Thornton School of Music. In Lau's opinion, when he and other students consider the quality or value of their instruments, the decisions are subjective and depend on what type of tone they are looking for and the style of music they are performing.

Violinist Mica Nafshun-Bone agrees. She picks her violin based on sound quality. She says for students and even professional musicians, the high-level fine instruments aren't affordable. "If I get the original violin of a Strad model, I would probably be too intimidated to play it. So maybe I would probably get a copy," she says.

Eric Benning describes the modern environment of the violin-making industry as a renaissance: "Information is so much more easily accessible so that it's easier to get access to better models, materials."

Michael Fischer agrees. He says not everyone is willing to put all their energy in such a small business that requires sitting in a workshop for hours on end with two or three people. "If they are not tied together, it doesn't work," he says.

Even with the many challenges, luthiers like Benning and Fischer believe that it is an exciting time for violin craftsmanship and the continuing evolution of music using stringed instruments.