The archlute has the body of a tenor lute with a neck extension giving it the same bass range as a harpsichord. Archlutes were favored to accompany the voice in the 17th century for their warm and rich sound. At first sight, it may remind you of the theorbo (below). This is lutenist Richard Stone, co-founder of Tempesta di Mare Philadelphia Baroque Orchestra.

A theorbo differs from a regular lute in that it has a much longer neck extending beyond the regular fingerboard. Low-register bass strings are added on the extended neck which gives it a much wider range than a regular lute. The theorbo lacks the warmth of the archlute and is not amenable to certain key signatures, but it makes up for this with power – an ideal instrument for basso continuo. Pictured here is lutenist William Simms who performs regularly with Apollo's Fire and Cleveland Opera.

The lirone literally means "large lyre." At first glance, it is easy to mistake it for a viola da gamba or a cello until you notice its 15 strings and flat bridge. Designed to play up to six strings at a time, this instrument has a strong low range making it a unique harmonic instrument for a continuo band. In the 17th century, it was especially popular for playing laments. This is Julie Elhard, a founding member of Glorious Revolution Baroque and director of the early music programs at the St. Paul Conservatory of Music.

The viola da gamba is a bass instrument closely related to the instrument that eventually superseded it – the cello. The gamba has a more gently curved shape than the cello, is deeper in profile, and is fretted like a lute with six rather than four strings. Gamba is prized for its "singing" quality and, in the right hands, comes closest to sounding like the human voice. Here is the iconic Jordi Savall, one of the major figures in the field of Western early music, who is largely responsible for popularizing the viol family of instruments.