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Peter Lynch

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    Manchester, Michigan
  • Interests
    Making violins for professional musicians.

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  1. We have only begun recording meeting the past few meetings held during Covid via Zoom. Agreement with presenters is usually that recordings are available for 2 weeks for members to view and then taken down. So past meetings have not been available. I can bring this issue up at the upcomming meeting for discussion. Often time individual presenters have differing views on how widely they want the material disseminates. Some are doing acoustics research and are presenting on unpublished material, others have commercial or personal reasons for not wanting the matieral to be available after the presentations. We a grateful for each presenters willingness to present at the meetings and respect their perspectives regarding the issue of recording. Even when we did inperson meetings, some presenters did not allow individual recording to be made. I will bring this up again as a topic during the business meeting, possibly having selected recordings (with permission) available for future viewing
  2. Historically, the group has allowed someone to attend a meeting (in person) as a guest. With using the zoom format now and having consistently top level professional presentations, we require paid membership to attend and view the presentations. I will bring the up again at the October 31 meeting for discussion. The membership fees is $30 per year, which gives you 4 meetings and 4 issues of you newsletter/journal. So for example this past year, $30 would have allowed attendance at presentations by Joseph Curtin, Iris Carr, Andrew Ryan and (upcoming) Christopher Germain and Kevin Kelly. That comes to $6 per presenter, and this doesn't even include the articles included in the 4 issue of the newsletter, This seems more then reasonable and an excellent value for quality professional education. Hope you will consider joining.
  3. Excited to Announce that Chris Germain and Kevin Kelly will be the presenters at the October 31st Michigan Violinmakers Association (MVA) Zoom meeting. Chris will be presenting at 1:00 (Eastern Time) "Strategic Varnishing" and Kevin will present "An Introduction to the Four Circles - a Theory of Cremonses Violin Design for Modern Makers" at 3:00. If you are not already a member consider joining @ Michiganviolin.org or contact me directly Recent MVA (zoom) presenters included Andrew Ryan, Iris Carr and Joseph Curtin. Hope to see some of you on the 31st
  4. 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.
  5. 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.
  6. I have been eyeing that attatchable vice he makes and was wondering how much you use that and what for. It sure looks cool
  7. 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
  8. Michael, Thanks for sharing your experience. so far I have just experimented with sandarac dissolved in alcohol on maple as a start.
  9. 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.
  10. 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.
  11. 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.
  12. Soetsu Yanagi ... There is an entire universe in his writing
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