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Peter Westerlund

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Peter Westerlund, a Swedish violin maker is sharing how he is making his 400th violin from A-Z . When I first started I found his site very useful.  He posted pictures from his workbench for each violin he made.  I copied some of his useful jigs.

 

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I like the simplicity of the no-template, arching by listening technique.
I'm interested in trying it myself to see how close to Cremonese the arches turn out. 
 

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What Peter says is interesting. However one thing he says "STAY OUT" by string load I suppose he means is technically not possible. Yes whet you put in a longer sound post the structure the sound post is "putting ON" certainly will move in relation to the surrounding structure.

Peter talk about 1 mm on the top plate and 1 mm on the back plate that become moved outward. I show here a vector diagram that tells us that the sound post only become loaded by the string tension. No movement upward or downward. What moves are the end blocks and when the back structure in the center ( the thickest part of the plate) is not strong enough the surrounding structure move upward. This give us the impression that the sound post STAND OUT while it is the other way around. When this happens the violin maker must make adjustments getting back the ideal stress condition on the arching shapes and this he can do by putting in a longer sound post. We know this but it still is the other way around. When Peter need to do this or as he claims the plaster cast show what he claims we can say these arching shapes suffer of a to low bending stiffness The enclosed figure, a vector diagram, shows that no downward movement arises. Its about sound post compression caused by string load. I say to all of you try what Peter does. It may at the end give us a complete different understanding and hopefully a simple working method.Dokument.docx

2016 vector forces.jpg

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54 minutes ago, DoorMouse said:

Anyone else see the hidden Star Trek symbol in the diagram?
tumblr_opqfhi9zd21vg9m1ro2_400.gifv

 

I just watched that episode and marveled at what a mediocre violin they had him playing.

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37 minutes ago, Three13 said:

I just watched that episode and marveled at what a mediocre violin they had him playing.

Yeah, you'd think they could replicate Strads down to the molecular level in the 24th Century.

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29 minutes ago, Jclef said:

Yeah, you'd think they could replicate Strads down to the molecular level in the 24th Century.

Nah, they don't use Strads anymore in the 24th century, they are out of fashion, it's a Juzek!

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The technique of scratching or scraping the surface and listening to the sound intrigues me. We had a long thread here about the aye-aye, an animal that scratches the surface of a tree to locate insects within the tree.

 

 

I don’t here the tones that Peter Wusterlund hears. I wish someone could visit him and record the sounds with good sound equipment. Then we could analyze them. It appears that he can measure the thickness of the wood just by rubbing. Incredible!

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2 minutes ago, violins88 said:

I don’t here the tones that Peter Wusterlund hears.

I don't hear the tones that either Peter Westerlund, or Vigdorchik have made a fuss about (along with some others),  nor can I find them with the rather sophisticated software I have.

There's even a guy who advocates going as far as tuning each individual peg vibration. If his violins are highly desired, I haven't run across much evidence of that.

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I met Peter last year during the Mondomusica period, a very nice and open person, he gave me some hints about his methodology and I could not understand much, but I promised him that I would try to see if I can hear something with scratching and tapping around.

I have tried, but without success, I can't discern the sound so accurately that it allows me controlled and reliable intervention on whatever, but perhaps I don't have enough faith in his method.:)

However, his theory to justify the presence of the central pin in the del Gesù backs is intriguing. Although I have some doubts that deliberately piercing through the wood with a sharp steel point makes a lot of sense, with his method fits perfectly.;)

However, I appreciate his sharing effort.

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I have viewed some of the arching and plate tuning videos in Peter’s series, but, because I can’t distinguish one rustle from another, it teaches me nothing.

I discovered a puzzling statement at 1:55 of this video.


He talks about “That orange very stable genius.”  Anyone know what he is referring to?

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1 hour ago, violins88 said:

I have viewed some of the arching and plate tuning videos in Peter’s series, but, because I can’t distinguish one rustle from another, it teaches me nothing.

I discovered a puzzling statement at 1:55 of this video.


He talks about “That orange very stable genius.”  Anyone know what he is referring to?

You hear about him every day in the news. It's never good news. 

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1 hour ago, violins88 said:

 

 

 

1 hour ago, violins88 said:

I have viewed some of the arching and plate tuning videos in Peter’s series, but, because I can’t distinguish one rustle from another, it teaches me nothing.

I discovered a puzzling statement at 1:55 of this video.

He talks about “That orange very stable genius.”  Anyone know what he is referring to?

He means orange haired Donnie.

This guy:  image.jpeg.ea63749a38cc81e1a7ec6c7d43c3135f.jpeg

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