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Peter Lynch

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    Manchester, Michigan
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    Making violins for professional musicians.

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  1. 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.
  2. I think you may be missing a point. This is a Sherlock Holmes stamp. I imagine that the "clue" here is the violin bow. It has some reference of solving something. That was my first thought anyway.
  3. I have been eyeing that attatchable vice he makes and was wondering how much you use that and what for. It sure looks cool
  4. An interesting observation made by Bruce Carlson in an interview / article I did for the Michigan Violinmakers Association newsletter on the Cannon was that the thickness of the ribs of the Cannon (high ribs) might be misleading in that Del Gesu used a toothed plane on the inside and so the thickness printed in Biddulph book would be to the " peaks" of the channels made by the plane blade and the weight / stiffness would be different if they were a "solid" thickness
  5. Michael, Thanks for sharing your experience. so far I have just experimented with sandarac dissolved in alcohol on maple as a start.
  6. I have just begun to experiment with Sandarac some and it seems to have an optical quality of imparting "brightness" and "clarity" . I am not just talking about a surface "shine", but it seems to almost magnify the visual qualities of the wood cells and give the illusion of brightness coming from the wood (in comparisons to some other resins). I will admit this could just be my imagination but I was curious if others have found this. Also curious of the pros and cons of adding sandarac to both spirit (retouch) and oil varnish.
  7. Before reading the post and some of the responses, I had an entirely different reaction to the Title. I read this as what part does fantasy (of the player and listener) have to do with the perceived sound. This seems a much more interesting and richer interpretation of the title.
  8. I may not trust what the seller says in terms of when it was cut. A Wood dealer said a piece of maple was cut 4 years ago, yet you could tell by how cool and damp it felt that it was much more recent. Got a much better price after he agreed that he really did not know. If you hold the wood to your cheek and it feels cold, it is not likely dry enough. Even under good drying conditions, Cello maple cut 2 years ago seems iffy at best. Dendrochronology shows that del Gesu used wood that was fairly fresh, I don't recall how much so though.
  9. Soetsu Yanagi ... There is an entire universe in his writing
  10. Where "up close" are they measuring the sound from (front / back) both ?
  11. "Things men have made with wakened hands, and put soft life into are awake through years with transferred touch, and go on glowing for long years. And for this reason, some old things are lovely warm still with the life of forgotten men who made them.” DH Lawrence
  12. I have been surprised on several occasions by how making a new nut improves the sound of an under-performing violin. It seems there is maybe more going on there then just keeping the strings in the proper position. Has others found this as well? I am curious of how makers think of the nut in terms of sound/acoustics or what ideas / observations you have. . I am not talking about "tuning" a nut (if there is even such a thing), Just theories of how the nut is or is not not involved with the acoustics of the "system" . Thanks
  13. Old wood has very good products that are quite straightforward and result in consistently high end results. . Recently have experiment with combining Oldwood varnish with some of ViolinVarnish Italy products. The Varnish Italy has a very high density of color built in, which I love, but I find the consistnacy quite thin and it sets up too quickly for my style of working. I have experimented with mixing the two and I like it quite a bit. I use the padding method of application and not a brush. The violin image used as my maestronet photo is done in this way.
  14. Is this related to spirit retouch varnish / polishing or using spirit varnish as the method of "varnishing"on new violins. I would be interested especially as related to retouch and polishing.
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