Hi Peter, it was nice to meet you in my workshop last October and I'm glad you decided to share your way of making, I'll stay updated. Congratulations on your 400th instrument, I don't think I will ever be able to do so many in my whole life.😊 Stay healthy and safe!!
What a treasure! Thank you very much. This is a very rare oportunity for a hobby violin maker like me to look over the shoulders of a very experienced and impressive master. The nights are not long enough to to listen to your instructions and try in the workshop. Thanks again
Wahou, I'm working on the 'rubbing/listening' method, since a fews months now. It's really powerfull ! Thank you so much for taking all this time to record and explain your way. 100 videos is a hudge work !! I really learnt A LOT ! Thank you, that generosity touch me ! 🤗 Pacôme
Thanks Peter for posting these videos on youtube. I have watched almost all of your videos. Some of them several times! What strikes me, like many others in the comment fields, is a feeling that your fascinating concept corresponds better with modern material technology and science than the use of templates and predetermined dimensions without regard to the material properties of the individual material.
Thank you Peter! This is a fantastic series. I have learned so much and have already adjusted my work based on these videos. There are going to be a lot of happy future violin makers when they find this channel! Thank you for sharing and please don't stop. :) 😀
Peter, thank you for sharing. I'm just an amateur, so far I only made a very first instrument. Please correct me if I'm wrong, I'm not sure if I've understood correctly. Over the time the arching has changed, and the original arching height was lower at the paces where the sound post and the bridge caused a pressure. So when copying an old instrument thees changes should be taking into account. Thank you.
If I was to copy a violin, I would go for the "method". If you copy the present arch of an old violin, it will be deformed in its turn and end up with a deformed deformation. :)
Grattis till den påbörjade #400. Intressant metod - du lyssnar vilken pitch=tonhöjd=frekvens ljudet har på ett ställe jämfört med ett annat ställe. Har du försök mäta ljudet alltså vilken frekvens det har, men du har väl så tränade öron. Ska bli intressant att se clip från förloppet.
My mothers Markneukirkhen violin back has a huge deformation from the soundpost, looking now from one side like a Stainer. Does it mean, that to return the sound of the violin deformed by soundpost pressure, if it is not the work of the great master from the past, regraduating is not prohibited?
You cannot "build back" a deformed plate by re-graduate it. Furthermore I am very against tampering with thicknesses unless it is a factory made instrument. I hope I understood you correct.
Hiii, You are a proffesional violin maker this is the prooff youre metod is working . 😉😁😁 I think to aply your metod in my next violin and I tell you how is working for me. Have a nice day. 😁😁
An interesting acoustic demonstration which may help explain why Peter Westerlund's method of tuning all the plates to the same tap tone produces a free-sounding instrument. th-cam.com/video/Pagl1zg0j4A/w-d-xo.html
Hi Peter, it was nice to meet you in my workshop last October and I'm glad you decided to share your way of making, I'll stay updated. Congratulations on your 400th instrument, I don't think I will ever be able to do so many in my whole life.😊
Stay healthy and safe!!
What a treasure! Thank you very much. This is a very rare oportunity for a hobby violin maker like me to look over the shoulders of a very experienced and impressive master. The nights are not long enough to to listen to your instructions and try in the workshop. Thanks again
Wahou, I'm working on the 'rubbing/listening' method, since a fews months now. It's really powerfull !
Thank you so much for taking all this time to record and explain your way. 100 videos is a hudge work !!
I really learnt A LOT !
Thank you, that generosity touch me !
🤗
Pacôme
Really impresive!!! I like your work Sir Westerlund! Thanks a lot for the video and the knowledge you have shared with us all! From Lima Perú
Thanks Peter for posting these videos on youtube. I have watched almost all of your videos. Some of them several times! What strikes me, like many others in the comment fields, is a feeling that your fascinating concept corresponds better with modern material technology and science than the use of templates and predetermined dimensions without regard to the material properties of the individual material.
Congratulations! Can’t wait to see the final product!
Thank you Peter! This is a fantastic series. I have learned so much and have already adjusted my work based on these videos. There are going to be a lot of happy future violin makers when they find this channel! Thank you for sharing and please don't stop. :) 😀
Thanks for your kind words.
Det här kommer att bli intressant!! Really interesting Peter!!
Excellent upload -many thanks for sharing this knowledge. JOnny UK
Du har ret, den metode har jeg aldrig hrt om. Det bliver spændende at følge :-)
Peter, thank you for sharing. I'm just an amateur, so far I only made a very first instrument. Please correct me if I'm wrong, I'm not sure if I've understood correctly. Over the time the arching has changed, and the original arching height was lower at the paces where the sound post and the bridge caused a pressure. So when copying an old instrument thees changes should be taking into account. Thank you.
If I was to copy a violin, I would go for the "method". If you copy the present arch of an old violin, it will be deformed in its turn and end up with a deformed deformation. :)
Grattis till den påbörjade #400.
Intressant metod - du lyssnar vilken pitch=tonhöjd=frekvens ljudet har på ett ställe jämfört med ett annat ställe. Har du försök mäta ljudet alltså vilken frekvens det har, men du har väl så tränade öron. Ska bli intressant att se clip från förloppet.
My mothers Markneukirkhen violin back has a huge deformation from the soundpost, looking now from one side like a Stainer.
Does it mean, that to return the sound of the violin deformed by soundpost pressure, if it is not the work of the great master from the past, regraduating is not prohibited?
You cannot "build back" a deformed plate by re-graduate it. Furthermore I am very against tampering with thicknesses unless it is a factory made instrument. I hope I understood you correct.
Hiii, You are a proffesional violin maker this is the prooff youre metod is working . 😉😁😁 I think to aply your metod in my next violin and I tell you how is working for me. Have a nice day. 😁😁
Work slowly in the beginning, to learn how it works and it will be fine. :)
An interesting acoustic demonstration which may help explain why Peter Westerlund's method of tuning all the plates to the same tap tone produces a free-sounding instrument.
th-cam.com/video/Pagl1zg0j4A/w-d-xo.html
Hur vet du vilken tonhöjd du vill ha?
Tonhöjden är inte intressant för mig. Bara att den är lika överallt.