Peter Lynch

Members
  • Content Count

    452
  • Joined

  • Last visited

  • Days Won

    1

About Peter Lynch

  • Rank
    Senior Member

Contact Methods

  • Website URL
    http://peterlynchviolins.com
  • ICQ
    0

Profile Information

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

Recent Profile Visitors

6096 profile views
  1. 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.
  2. Peter Lynch

    Maple For Sale...

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

    Gordge case identification

    I love these classical handmade English cases. I just purchased a Timms case (new Old stock c 2010).
  4. 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
  5. Peter Lynch

    Fingerboard Question

    Could it be an attempt to avoid having to reset a neck that was set at too steep an angle?
  6. 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.
  7. 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.
  8. 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
  9. Peter Lynch

    D.I.Why?

    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.
  10. 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
  11. 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.
  12. 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.
  13. Peter Lynch

    Stavanger's bench

    I would still focus on making your own molds. Much is learned / developed with this process
  14. 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.
  15. Peter Lynch

    !8th century working methods

    what is a perfectionist? (and still what is symmetry?)