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 that good musicians will want to play that are based on the the work of Guerneri del Gesu. Playing cajun / creole music

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  1. Peter Lynch

    Fingerboard Question

    Could it be an attempt to avoid having to reset a neck that was set at too steep an angle?
  2. 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.
  3. 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.
  4. Peter Lynch

    Steve Rodriguez's Bench

    Nice violin. What qualities do you like most about it and what would you like to change on your next one? When you look at it where does your eye go to? If you were to critique the corners. which one do you like the best and which ones less so (and why)? Great Start! ... begin to have a conversation with the violin
  5. Peter Lynch


    Reading this thread, I want to post something that might be relevant. I am the president of the Michigan Violinmakers Association, having been in the position for about 1 1/2 years now. I sometimes get calls from "DYI" people with questions about different things. There are 3 guys in particular who have called me at least twice asking advice about what I will call non-conventional things they have done or are planning on doing to a violin. All these guys live in Michigan. I have referred all 3 to join the group. For $30 they get to attend 4 meeting a year and receive 4 issues of the newsletter with high quality articles. We have had Joseph Curtin, Feng jiang, Jacob VonDerLippe, Matt Noykos , Aurbey Alexander, Sharon Que, Chris Jacoby and Davide Sora and others presenting or writing articles. Top people who most would pay much more then that to hear just once. Not one of those 3 DIY guys have joined the group thus far. There are definitely a few others who are eager to learn who have joined. Not sure what this says in relations to the original post, but I figured i would post this experience for what it is worth.
  6. Peter Lynch

    what determines the sound a luthier aims at?

    The idea here is not the literal idea that a violin sound like their actual voices, this is a metaphor and a reference point to think about categories of things. A violin needs to be free to produce any sound that the player wants it to make and to me this feeling of freedom is SYMBOLIZED in Yonina's sound. Each string and position has unique qualities in and of itself that is free to be used in it's own way and Yonina's sound SYMBOLIZES this uniqueness of voices. A Violin's unique / complex voices potential needs to work with the other unique conmplex voices and the group SYMBOLIZES this unique potential. The couple is unique and engaging and free in their music and a violin needs to allow the player to be free and unique and engaging. All the register / frequencies need to have qualities that inspire the musician and audience. There is a responsiveness that one has to the other that comes through (that is why you smile when you hear them I think) and this metaphore helps me think about the violin to itself and the player to the instrument and vice versa. I could go on, but I think you get the idea of what I am thinking. This is what I mean when I said that this couple has an ideal sound for my violins. It is personal reference to me and helps me engage / listen to an instrument and analyze the qualities, not that I want my violins to produce the same frequencies of their voices or that I think of a violin as a music "duo" of sounds. Makers use tools to orient themselves to what they are doing and engage with their instruments. This is one additional way
  7. Peter Lynch

    what determines the sound a luthier aims at?

    Brad, I don't mind sharing who this is, but the reason I posted was not to say this couple is any objective ideal, but that for me and the way I think about making violins, they happen to be useful in how I hear and interpret their sound and how i think about the violin. Another person would probably respond to some other stimulus to get ideas from and find their music as totally unrelated to making instruments. The group is called Yonina and they are an Israeli couple. I had never thought about this before, but after hearing them for the first time, for some reason I had the clear realization (for me) that this is a reference for the ideal violin sound. I have trued to understand all that goes into that idea and am still developing different connections. One thing I am playing with now is the idea of the masculine and female voice and how we respond differently to each and if this can be applied to the violin. It is just a kind of undefined idea right now, so will see if anything comes from it. It is really about finding what helps someone to engage with making the instrument and making it better ... for some it may be squiggly lines on an acoustics graph and for another person hearing an Israeli couple singing together.
  8. Peter Lynch

    what determines the sound a luthier aims at?

    This may not exactly be what you are asking about, but I like to have a sort image in my mind that I use as a reference. There is a husband and wife duo ( vocal) that I think of as the ideal sound combination that I am gong for. The qualities of their voices both individually and together is the "feel" I am going for. It helps me think about each string as an individual voice with different qualities and how they might come together. I have a certain reaction when I hear them, and if the violin sound gives me a similar reaction, then I know I am in the right direction. If not then I try to figure out what needs to change. Not a very scientific approach, but that is how my mind works I also agree that a violin that wants to play itself and easily produce intune notes is another important quality.
  9. Peter Lynch

    Stavanger's bench

    I would still focus on making your own molds. Much is learned / developed with this process
  10. Peter Lynch

    Band saw rip fence

    I don't own this saw, but have seen the newest 14 inch Laguna saw in action a few times and it's fence is really well designed - straightforward beauty. You can't buy the fence as a prepackaged aftermarket item, but you can order all the parts from Laguna. Might want to consider this.
  11. Peter Lynch

    !8th century working methods

    what is a perfectionist? (and still what is symmetry?)
  12. Peter Lynch

    !8th century working methods

    what is symmetry anyway? There is no doubt they strived for something that was of the highest quality, but was that what a modern person might call perfect symmetry ie: an exact mirror image left to right? Maybe what we might call balance was more of their ideal then a clinical mirror image "ideal". What reference in their environment or imagination or day to day life did they have for such an idea to take hold? It seems that their mind was maybe a different kind of mind and their attention had a different quality of attention then what most modern people would have. It is not just what they paid attention to, but actually how they paid attention to it. Just an idea ...hmmm
  13. Peter Lynch

    Brand of Sandpaper

    I was at Woodcraft getting vacuum bags for my Festool vacuum (which I love.. the floor sweeper attachment is so well designed and makes quick work of cleanup) and saw Festool makes sheet sandpaper. It got me thinking about sandpaper brands and was wondering what brand people use and why. I have used Norton and a Canadian brand I can't recall the name of and Mirka but really haven't given it much thought beyond "good brand name in the grit I need". Most of my sandpaper gets used in doing fingerboards / finishing a neck and setup type of things. I sometimes use some in varnishing, but at a courser grit for leveling if needed. Just got me curious.
  14. Peter Lynch

    Methods for storing /displaying higher value violins

    Went with brass rod. Here is finished cabinet (modified Ikea)
  15. Peter Lynch

    Methods for storing /displaying higher value violins

    Thanks for everyone's reply. I appreciate the input. I am going with brass rod -Peter