del Gesu Average Plate Graduations Top/Back Full Size

This auction is for the full size diagrams of the average thicknesses of both top and back plates from more than 40 Authentic del Gesu instruments.  2 sheets 11" x 17". 

These diagrams have more than 45 data points on the thickness of del Gesu instrument plates (45 for the top and 45 for the back).  Both the top and back plates. They can be used for a huge amount of knowledge as well as the basis for thinning your own plates.  I cannot see why any violin maker would not have these for reference at least. 

One of the things I have learned is that the best violin makers are tight with their graduation schemes, and rightly so.  It has been their edge in the market.  Many of the best violin makers today know that the thickness of plates is the key to great sound.  There is no motivation to divulge what has taken them years to come to the right conclusions.   They make a living from their profession, and when it gets competitive, they may be at risk of losing income.   Do not under estimate the importance of this fact.   There is some valuable knowledge that is freely disseminated about making violins, but I contend, without a doubt, the most valuable knowledge is correct plate thickness and parameters.   I have put this data together for a reasonable cost.  You can start making better violins with it.  This information is another "secret" staring you in the face.

The thickness markings are throughout the plates, with key areas around the f-holes noted.  The most interesting thing is that looking at the thicknesses, the variance is only about .3mm.  (what I mean is that of all 45 instruments, the thicknesses noted for each location on my diagram vary by 3/10 of a millimeter or less from violin to violin!  This is a huge data point.  Example:  If one location reads 2.3mm, then at maximum, on any of the 45 or so Strads, that spot is no more than 2.6mm and no less than 2.0mm.  That being the case, you can make violins baselined on this data, that has obviously proven to be very successful.

Another interesting note would be that there is some asymmetry in thickness from side to side.  Being an average, most of the asymmetry is averaged out, but there are a few trends you can spot for asymmetry.  Asymmetry is not a problem.

Now, here is another tip.  With my experience of having more than 200 violins built for me in the last several years, to my specs, the graduation of the plates is the most important thing in building violins that sound good.  Free plate tuning is a fools errand.  A hoax.  VooDoo.  Hocus Pocus.  What you need to focus on is the thicknesses, not some tap tone in a free plate.  Let me ask you this:  If you hit a key on a xylophone and hear a note, is it the same note when you hold your finger on the key when you strike it again?  Case closed.  Sound is made by the strings and vibrating plates.  These plates are firmly attached to the sides.  The thickness of plates allows more or less vibration with thinner/thicker schemes.  Don't waste any more time with "tap tuning".  Do not be dissuaded by some "good" violin maker telling you that every piece of wood is different and has to be treated that way and tap tuning is needed (this is the tap tone argument).  Sure, wood is different, but it is similar enough to be treated about the same each time in terms of thickness.

Start base lining your violins on something that is proven.  Let you brain digest this data, and use this data.  There are plenty of books on violin making that tell you how to construct a violin.  Most are quite good, and correct.  The problem is, they do not tell you how to make good sound.  The fact is, the right plate thicknesses with high quality wood is the answer.   I recommend the Strobel books for someone new or less experienced, but there are plenty of books to get the basics.

Shipping is $2 domestic, $5 international.

Simeon   303 507 5225   chamberssim@qwest.net