Peter Lynch

  • Content count

  • Joined

  • Last visited

  • Days Won


About Peter Lynch

  • Rank
    Senior Member

Contact Methods

  • Website URL
  • ICQ

Profile Information

  • Gender
  • 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

Recent Profile Visitors

5778 profile views
  1. 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.
  2. 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
  3. 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.
  4. 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
  5. 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.
  6. 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.
  7. Stavanger's bench

    I would still focus on making your own molds. Much is learned / developed with this process
  8. 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.
  9. !8th century working methods

    what is a perfectionist? (and still what is symmetry?)
  10. !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
  11. 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.
  12. Methods for storing /displaying higher value violins

    Went with brass rod. Here is finished cabinet (modified Ikea)
  13. Methods for storing /displaying higher value violins

    Thanks for everyone's reply. I appreciate the input. I am going with brass rod -Peter
  14. I am finishing up making a cabinet for storing / displaying violins and I am trying to decide if I want to use U-shaped wire hanger approach or a wood with cut out slots that hang the violins at the chin of the pegbox. I would probably add felt to rest the chin on as well. Due to the design of the cabinet the wire hangers would probably work better, but am concerned if there might be any long term damage with this method. For folks that have shops that deal with instrument in the 10 - 25K range and hang their violins, what approach do you use and why? Thanks Peter
  15. Book Recommendations

    I think I recall thread(s) on this so a search might be useful. The Art of Violinmaking by Johnson and Courtnall would be near the top on the list of how to book. Solid information logically presented, , good photo and impeccable credential of authors. Violin Restoration by Weisshaar and Shipman is a must, even though some techniques may no longer currently be in favor, still an essential reference I think. Violin Varnish Notes of Koen Padding and Gary Baese's varnish book (if you can find it) are great little books. The Violin masterpieces of Guarneri del Gusu by Biddulph is quite expensive but a great reference, not only for photographs, but amazing articles in the second volume. Others may be better suited to make Strad oriented book Recommendations. To my mind, these are the essential no brainer way to start a good library.