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Peter Lynch

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  • Gender
    Male
  • Location
    Manchester, Michigan
  • Interests
    Making violins for professional musicians.

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  1. I have used them a few times and yes, the strings don't come in contact with the "nut" on the tailpiece. I also wondered how this effects the dynamics of the strings. With a limited experience of 3 violins , it seems this (in combination with the tailpiece being on the light side) they seem to make the instrument more active and lively then some other tailpieces. This may or may not be a good thing depending on the situation. I would use them again, but think it can be a mixed bag. I can't speak to how the length of the tailpiece potentially effects things, as I was given the tailpieces to put on the violins from the clients and did not factor this into the decision. If I remember correctly, you can get different lengths.
  2. It might just be the angle of the photo, but the overstand looks quite high. Not sure if this is the case not or if it is could this affect the A and E strings adversely (at least for this player). I know the fashion in some circles is to have a higher over stand. This obviously opens up another can of worms like the string angle over the bridge etc.
  3. It might just be the angle of the photo, but the overstand looks quite high. Not sure if this is the case not or if it is could this affect the A and E strings adversely (at least for this player). I know the fashion in some circles is to have a higher over stand. This obviously opens up another can of worms like the string angle over the bridge etc.
  4. If the feet are not an optical illusion / soft varnish issue, I am wondering if the feet might have been fit with the bridge facing the opposite direction, then inadvertently turned around before doing the string heights etc. ?
  5. Yes David Pye speaks about the workmanship of risk vs the workmanship of certainty, And why the workmanship of risk is valued above certainty. Love the tailoring example
  6. The person that’s written most about workmanship is probably David Pye. His book “the Nature and Art of Workmanship” is really good resource. He talks about workmanship in a couple different dimensions. One is “free” workmanship versus “regulated” workmanship. The second category would be good versus bad workmanship, But this has a few components in it itself. Is the workmanship structurally sound? Does the item or object fulfill its purpose? The second component of good versus bad workmanship is Is the object comely (attractive to look at). If you look at these different dimensions you can think of a late de Gesu as being an example of free workmanship that is good workmanship In that it is structurally sound and stable and produces sounds that are beautiful. Many people also find this looser visual look of the instruments quite attractive. There are some people that believe that only regulated workmanship is attractive ( or at least doesn’t make them feel uncomfortable to look at) . I don’t wanna get too far in the weeds with this but I just think there are different components to this question of workmanship.
  7. Peter Lynch

    Bridges

    If you are interested in beginning to understand how a bridge is carved. Go the the Triangle Strings website. They have an excellent tutorial on carving a violin bridge and you will get a good idea why it is so difficult.. If you have issues with the bridge you play on, probably best to bring it to a violinmaker.
  8. Peter Lynch

    Bridges

    Those numbers seem in the ball park. So not go lower with the E, and the G at 6.0 can work well for some players. The height of the strings at the nut and the scoop in the Fingerboard will also contribute to the feel of the string. The middle string heights are not relevant in terms of height off the fingerboard. You set the G and E and use a correct template to establish the middle strings. Then as the last step place the fingerboard templete on the strings just ahead of the bridge to tweak the "curveature" of the arc that is made up of the top of the strings. There are subtle varriations of this, but this will get you in the ball park. The "default" string heights for many is 3.5 on the E and 5.5 on the G. measured to center of strings. There are other ideas about this but these are the numbers many use as a general rule.
  9. The samples you provided are probably not the look you are wanting to "go towards", but your interest to have a look that you want to "go for" is a good impulse. Getting the wood of an instrument quite dark before the varnishing process, especially if you want to create a convincing antique look, is generally a good approach. However, the (kind of) darkness (burnt look) of your samples is not that look. So yes to darkness, but a darkness with other kinds of qualities. So the idea is to develop your eye more from just "I want darkness" to "what kind of darkness do I want and what does that look like and how to achieve those kinds of qualities. The piece by Roger Hargrave on making the bass I would say is essential reading, as well as looking at and studying high quality photographs of actual historical instrument, or better yet some actual good quality violins. Joseph Curtin wrote once that you copy (often in an exaggerated way) the qualities you notice that you like and ignore the things you aren't able to see or understand. Look foward to seeing photos of your violin as to get to the varnishing. Many great historical Italian instruments can be quite dark, but simultaneously have the look that light is being reflected from deep from within the varnish. As as you move the violin, the qualities of light and dark change and move. The surface is visually lively and complex. Experiment............ Also look at the work of modern makers such as Feng Jiang, Antoine Nedelec, Chris Germain, Melvin Godlsmith, Jeff Phillips, and Andrew Ryan, Christian Byon, and Anton Somers . There are some amazing examples among that group.
  10. We have only begun recording meeting the past few meetings held during Covid via Zoom. Agreement with presenters is usually that recordings are available for 2 weeks for members to view and then taken down. So past meetings have not been available. I can bring this issue up at the upcomming meeting for discussion. Often time individual presenters have differing views on how widely they want the material disseminates. Some are doing acoustics research and are presenting on unpublished material, others have commercial or personal reasons for not wanting the matieral to be available after the presentations. We a grateful for each presenters willingness to present at the meetings and respect their perspectives regarding the issue of recording. Even when we did inperson meetings, some presenters did not allow individual recording to be made. I will bring this up again as a topic during the business meeting, possibly having selected recordings (with permission) available for future viewing
  11. Historically, the group has allowed someone to attend a meeting (in person) as a guest. With using the zoom format now and having consistently top level professional presentations, we require paid membership to attend and view the presentations. I will bring the up again at the October 31 meeting for discussion. The membership fees is $30 per year, which gives you 4 meetings and 4 issues of you newsletter/journal. So for example this past year, $30 would have allowed attendance at presentations by Joseph Curtin, Iris Carr, Andrew Ryan and (upcoming) Christopher Germain and Kevin Kelly. That comes to $6 per presenter, and this doesn't even include the articles included in the 4 issue of the newsletter, This seems more then reasonable and an excellent value for quality professional education. Hope you will consider joining.
  12. Excited to Announce that Chris Germain and Kevin Kelly will be the presenters at the October 31st Michigan Violinmakers Association (MVA) Zoom meeting. Chris will be presenting at 1:00 (Eastern Time) "Strategic Varnishing" and Kevin will present "An Introduction to the Four Circles - a Theory of Cremonses Violin Design for Modern Makers" at 3:00. If you are not already a member consider joining @ Michiganviolin.org or contact me directly Recent MVA (zoom) presenters included Andrew Ryan, Iris Carr and Joseph Curtin. Hope to see some of you on the 31st
  13. One of the nice middle period 1734 /35 ish is best to start. Scrolls carved by his father and are symmetrical and beautiful proportioned and as a first attempt there is an advantage starting with a more conventional looking scroll. Also these scrolls were carved by someone who knew exactly what they want to do and went for it in a purposeful manner. This is what you need to learn to do, even if you do later more funky scrolls at some point. King Joseph / Plowden etc.
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