Peter Lynch

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About Peter Lynch

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    Senior Member

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

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  1. Peter Lynch

    Do you make your own varnish or purchase from a vendor?

    There may need to be an additional choice of making your own varnish but also use purchased varnish. I am currently experimenting with combining varnishes throughout the process of finishing. It may not be an either / or case all the time.
  2. Peter Lynch

    Client's WWII-era (?) decorated violin - ID anyone?

    I have no actual reference or direct knowledge of this, but when I saw the decal, I though of the Spanish American War for some reason.
  3. Peter Lynch

    Decent Boxwood Fittings at a Reasonable Price?

    kostovandsonsviolins at
  4. Peter Lynch

    Decent Boxwood Fittings at a Reasonable Price?

    I like the fitting of Kostov and Sons, they are near Chicago. about $250
  5. this has one of the nicest filius scrolls of the middle period
  6. In the big scheme of things, labels are relatively unimportant in identifying a violin .... It is the actual instrument that tells you the information
  7. Peter Lynch

    Suggestions for how to address this knot in my new Krenov plane?

    Not sure if that is a wind shake or knotand it may go further into he wood then is obvious, theoretically causing some movement around the blade area. although not likely, This could effect the cutting properties. I would agree with using thin super glue and wick it in to stabilize.
  8. Peter Lynch

    Hand made versus machine made violins

    at some point it is possible if not likely that most of a violin can be made entirely by machine with minimal human involvement. In 10 or 50 or 100 years when this happens, is the conversation any different.
  9. Peter Lynch

    Angle or height of bridge?

    keep in mind that the angle over the bridge can also be tweaked by changing the height of the saddle.
  10. Peter Lynch

    Maple For Sale...

    Do you have aprox density for this back?
  11. Peter Lynch

    Gordge case identification

    I love these classical handmade English cases. I just purchased a Timms case (new Old stock c 2010).
  12. Peter Lynch

    Air check in scroll wood

    Depends on how far that goes into the wood and if it will be eventually cut out by the end and how much you otherwise like that piece of wood for the neck (grain, figure etc).. If it was just a ho humm piece of wood I may reject it right out (the check being one of a list of undesirable qualities that make the decision for me). If I really liked that wood, i would try to salvage it by thoughtful layout etc to see if I could make it work, knowing i may find more problems as i got into it
  13. Peter Lynch

    Fingerboard Question

    Could it be an attempt to avoid having to reset a neck that was set at too steep an angle?
  14. Peter Lynch

    The Top 3 Beginner Mistakes

    About 10 years ago, one of the NPR hosts was interviewing a famous pianist (can not recall who it was). They were talking about when he first started learning at a very young age. The host commented how she too started started learning the piano at about the same age and listed a few songs she was working on in the beginning (insert basic titles like twinkle or happy birthday or three blind mice etc). The famous pianist said something that communicated he had never played these songs and went on to list pieces from famous composers he started with. I am not describing it well, but the impact listening to the interview was that ones expectations and early experiences is one important ingredient to the future trajectory.
  15. Peter Lynch

    How to judge violin sound ?

    There was a viola judge at VSA a few years ago, I do not recall her name now, who said you have to see how receptive an instrument is to accepting music from the player. This takes the idea of an instrument being "responsive" in a way and brings it into an "interpersonal" framework of sorts, where the instrument is responsive (open to) the player and the player is responsive (open to) the instrument. At a basic level, you could say that this is the instrument not getting in the way of the player, taken further it, it is much more active then that.