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. This is the first time seeing this thread. Very good design near the button and well executed. I really like this violin, it has "you" in the execution and it is done with intention. This is hard to teach/learn. Sure there are details that need to be improved on, but you have some talent and the right instincts. Next one focus on things like the shape of the negative space of the f holes, and the fluidity and visual "tension" of the scroll as well the refining the bridge, taking off even a few 10th of a mm in the right places really make it come to life. Nice job
  2. "pliability and sensitivity" seems like it has at least as much to to with the violin as the setup.
  3. Is this instrument beautiful / appealing to your personally? If it is, then as you make the instrument you will sense if it "feels" right or not because of your emotional reaction as you remove that last bit of wood just there. The other danger is exaggerating what you like or think should be there from some cartoonist notions of "roughness" or some such thing. Don't give into desire or oversimplification.
  4. I think you are focusing on the wrong thing. How can you possible know that you did something wrong at this point????? ... Clean up what you have done so far and make it beautiful, do your edge work, make your f hole fluting, Cut those f holes and get it to a decent weight.
  5. I know of a few situations (not mine but observed directly) that black light in garbage can did not work well and caused varnish problems with it not setting up fast enough and weird things happened that needed to be corrected. Different varnish may react very different to the same amount of uv.
  6. I will be there a few days, including the concert. Look forward to meeting you. I have never made a copy of the Cannon, only other later ones mostly the Sauret and Ysaye. This will be a great motivation .
  7. The Michigan Violinmakers Association (MVA) July meeting will feature Antoine Nedelec presenting on varnishing and antiquing. The meeting will be held at the Pittsfield township branch of the Ann Arbor District library and will begin at 12:30. There will be a business meeting and annual elections held prior to Antoine's presentation. If you are interested, you can go to our website at and become a member for $30, which if I may say is an absolute bargain for all the meeting and newsletter content and library resources you receive . The MVA holds quarterly meetings and publishes a quarterly newsletter containing in-depth articles. Our most recent meetings included presentations by David Burgess and David Orlin (Violin and bows - January meeting) and Aubrey Alexander, Lonny Marino and Alex Currin presenting a practical workshop on Francois Denis approach to drawing / drafting violins (April meeting). Other recent presenters include Matt Noykos, Joseph Curtin, Feng Jiang and Sharon Que. We also have an extensive lending library which is free to our members. Books can be shipped to members out of state. Our most recent additions to the library include the 3 volume set "The Conservation, Restoration, and Repair of Stringed Instruments and Their Bows", "The manual of Violinmaking" by Brian Derber and "Markneukirchen Violins and Bows" by Bruce Babbitt. If you have any additional questions, message me here on Maestronet or email me at
  8. why would very thin bridges be more likely to filter out very high frequencies (in contrast to thicker bridges)
  9. what every one you experiment with, try heavy gauge
  10. I have seen some baroque style pegs that look amazing. Can anyone think of any real disadvantage of putting these on a modern set up instrument. Is it just not done for some reason?
  11. I use 2 benches (woodwork / making & setup/restoration) so tool racks are portable.
  12. Sealing the wood with an oil based ground could be a solution. Then apply colored oil varnish in a way that evens out the splotchiness.
  13. just saw your most recent post. the process now would be to try to isolate the transtint (which is a dye and not a pigment) and then apply a clear layer on top of that. After that slowly and strategically apply color to even out the blotchiness. Another idea is to antique this violin, using the "diversity" that the unevenness provides to some advantage.
  14. If you watch him play and listen you can tell he if very connected to this instrument and his body relaxed. There is a freedom in the playing that is reflected in the music. This instrument fits him perfectly and is responsive to what he is giving it (and vice versa). Beautiful thing to watch.
  15. no. Yes, a well setup plane will work just fine. The mechanical stuff is a time saver like getting a neck block trued up / flat / square before layout etc. Also hand tools require more (or at least different) skills. Workmanship of risk vs workmanship of certainty continuum- David Pye.