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Peter Lynch

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Everything posted by Peter Lynch

  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.
  15. It might be interesting in terms of what type of player might prefer the sound of a denser top violins (if it is even possible to know or generalize). Some players are more "in the string" (pressure) players and some "on the string (speed) playing style.
  16. I might use it if it is lively and responsive. Take a few lighter piece to compare. Put it up to your ear and tap and rub finger lightly on the other end. If the taps are as loud and clear and ringy as the other pieces and when you rub your finger on it. the loudness and clearity and sizzle of the sound is as good or better then the other stuff I would use it. If it is duller or less clear or muted then make blocks.
  17. I totally agree it would be a tragic loss
  18. Although the knowledge/ technology is not there yet , at some point in the future it will be likely that most or all of a violin will be able to made in the finished state by machine / computer. At that point does the conversation change??
  19. Some of the books by architect Christopher Alexander could be useful such as a Pattern Language and a Timeless way of Building to name a few could be useful. It helps provide a philosophy / approach to creating a space based on how you actually use and live in the space as the starting point. To start off asking how big a space may not necessarily be the most useful question to ask. Your original question was related to how big a shop to make violins in? Maybe this is a different kind of question then "what is the size of a space to store all my large (and maybe not used) machines in, and by the way I just happen to be making violins as well.
  20. 25 x 35 one room building. My space is way too big and I am in process of splitting it into 2 (or 3) smaller spaces. Smaller uncluttered space is much more conducive to work for me at least.
  21. David, hope to see you there, although traveling half way around the world after just traveling half way round the world would definitely take many days of recovery. Also, thanks for every thing at Oberlin Restoration All the Best, Peter
  22. If you are not already a member of the MVA and are interested to attend please pm or email me at peterlynchviolins@gmail.com. Meeting begins at 12:30 and Antoine's presentation begins at 1:30. The meeting will be held at the Pittsfield branch of the Ann Arbor District Library at 2359 Oak Valley Drive, Ann Arbor Michigan.
  23. 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
  24. "pliability and sensitivity" seems like it has at least as much to to with the violin as the setup.
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