Data
Real world results that can give you an idea what Simeon Chambers Tonewood Spruce can do for you.
I break it down into two categories.
- Testimonials. Read those for a flavor of other people’s results.
- Simeon Violin Project, 260 violins and violas with Simeon Chambers Engelmann Spruce. More below.
It was in 2007 that my violin project started. After having had many conversations with some of the best professional violin makers in the world, mid level makers and some just starting out, that I realized I needed to know what made great sound in violins. I developed a plan for the first stages. I would send my wood to China, and have them make me some violins. I would control variables. My theory was that the top plate thicknesses and great wood were the absolute keys to great sound. What I learned is how to make great sound, every time, in a violin. It is the answer that many never find.
This is an approximate timeline, and unit count. (some of these were also violas)
Generation 1 4 violins 2007
Generation 2 76 violins
Generation 3 70 violins
Generation 4 25 violins
Generation 5 15 violins
Generation 6 50 violins
Generation 7 6 violins Summer 2011 done.
Generation 8 12 violins In process January 2012.
The results for sound/tone for this project are summarized in the next few paragraphs.
The first generation violins were “good”. Yea right. Most were student to advanced student sound. It was not until 2010 that I realized (I had suspected) that if you take a violin of your own to someone to evaluate, it will always be “good”. In any case, there was some decent sound in the first 3 generations. Generation 4 was similar, nothing great, but we actually had some decent sound. I measured thicknesses of many of these violin plates. Hmmmm.
Generation 5 was when I deduced that I was close to finding out how massively sound results change with small variations in top plate thickness. I planned 15 violins, Guarneri style. All things being as constant as I could make them, except the top plate thickness map. There was an A plan, B Plan, and C Plan. Each plan had 5 units. The A Plan was my assumption of the right answer to get me closer to great sound. I mapped out in mm what I thought the thickness of the top plate should be. The B Plan was about .3mm to .5mm heavier on the top plate pretty much all areas, but some measurements nearing the A Plan. The C Plan was .5mm to 1mm heavier than the A Plan.
The results were amazing. With the A plan we got great sound, bordering on that truly great sound that you are really seeking. The B Plan was mediocre, although 1 or 2 of the B Plan sounded ok. The C Plan was straight up student sound. No exceptions. One half a millimeter was making a huge difference. In fact that half mm might as well be a mile. One full millimeter and forget it. I used a Hacklinger Guage to measure these violin plates, so no taking apart of the violins needed to occur. The generation 5 A Plan maps were a breakthrough.
Generation 6 improved on the thickness map of Generation 5A Plan. Small adjustments. We got some good to great sound. I did a compelling test. I had my professional setup person, Vadim set up all the Generation 6 violins. Before this, without disclosure to him, I sent 4 instruments back to China for a fine tuning of the top plate thickness. These violins were close to my specs but after measuring with a Hacklinger guage I figured were probably 1/2 millimeter thicker than I wanted. This was not the case for all the units in Gen 6, as some were closer to my spec. My China point man emailed me and he said they were within the .2mm to .4mm of what I had requested. He asked what to do? I said pop the top on 2 of them and try to get them closer. Thin them slightly, the .2mm to .4mm.
6 weeks later I introduced these first two into a group of violins that Vadim was setting up for me, all Gen 6. As my compensation to Vadim, he gets to keep an instrument after a defined amount of setups. Out of this group he chose the two modified top plate units. Hands down. He even wanted to "trade in" prior selections for these two violins. He did not have any idea that this had occurred. The other two units the same thing happened. The lesson here is that great sound happens when the right thicknesses are finally hit. It only takes a few tenths of a millimeter. I used this data for Gen 7.
Generation 7 had extraordinary sound. The great kind of sound every mid level maker tries to get. Generation 7 was 6 violins. Specific gravity of the tops was .31 to .35. All violins were fantastic tonally. In fact, two of them sold in Moscow Russia within days of getting there, one in Colorado immediately, and the 4th best for sound of the group compared equally in a sound test with the violin Gold Medal Tone award at VMAAI in 2010. (equally picked in a blind sound test)
I will add more info as I get time, such as control variables and other noteworthy things. 1-17-12
**Just a note: The A Plan would not be any thinner than a typical Strad.
** The back plate thicknesses used the typical "bullseye" pattern that many pros use today.,
Some more relevant real world data:
The 2010 VSA Convention in Cleveland featured many entries into the competition using Simeon Chambers Tonewood. This is a competition for violin makers from around the world. Winning a medal here means you are at the top of the profession, in the world. There were nine tone awards and one Gold Medal awarded in the violin category. 10 Awards for tone out of 238 instruments (the Gold Medal means the tone and workmanship both warrant a medal, thus 10 awards for tone). Simeon Chambers Tonewood tops were used in 4 of the 10 instruments getting those awards. Also, in the viola category there was a Silver for Tone and a Certificate for Tone awarded (2 tone awards using Simeon wood, 13 total Viola tone awards, 139 entries). It is hard to say how many of the 238 violin entries used Simeon wood, but probably 12 to 20.
Thanks.
Simeon
