Biography – Patrick KREIT

Biography Patrick KREIT

Patrick Kreit (August 1949). This French violin maker practiced his craft in Reims, France, the champagne capital, coronation city of French kings, and historical center of Europe.

Award-winner for the gold medal of the “Grand prix des métiers d’art” in 1988 and in 1989, and the “Médaille de la Ville de Reims” in 1990; contributed to the training of several students of violin making.

A passion for lutherie began at age 14 with the construction of a guitar. The initial attraction
of Stradivari’s mythical secret, held in common with many aspiring makers, led to violin making
at the age of 18 and the conviction that this instrument offered greater possibilities for research.

After compiling a data base over 23 years during the construction of violins, violas, and cellos,
six years were devoted to theoretical research and experimentation, in order to study various wood treatments and to determine the frequencies of back and top plate (extrados) starting volumes, based
on the moisture content of the wood, before hollowing the intrados.

To determine with certainty the best tuning frequencies for free back and top plates, B1- and B1+ mode frequencies, as well as the critical frequency limits not to be exceeded, it became necessary
to construct 30 finished violins (ready to play), along with 26 free top plates and 30 free back plates over the course of 12 years, and to conduct the research and verifications required to study the materials’ behavior for several years until finalization of the final third edition.

Use of an outside mold ensured interchangeability of the back and top plates tuned to different frequencies, in order to verify all possibilities for the delta between modes B1- and B1+.

This research led to elucidation of the materials’ behavior after dehydration of the wood from 12% to 0% moisture content: the mode 5 frequency rises by 42 Hz, as do the B1- and B1+ mode frequencies.

This is the crux of the problem in correctly tuning materials in the white throughout all stages of violin construction. Other vital factors are the wood’s retraction after natural dehydration to 0% moisture content, and back plate deformation raising the B1+ mode and lowering the B1- mode frequency until
the materials attain definitive stability.

This is the main reason why it is necessary to heat the wood to a temperature of 210 °C before using it, thereby ensuring perfect stability of both unvarnished and varnished materials, as well as a consistently even tone from the violin, regardless of the ambient humidity level

The method for tuning violin top and back plates to the desired frequency is accessible to any luthier who invests in the necessary technical devices. A tone generator or software generating frequencies, audio capture software (such as the easy-to-use Audacity), and a humidity meter are commonly used tools without which modern violin making could never have made such progress.

This third edition is the result of 48 years of research on the acoustics of the violin, viola, cello, and on varnish. It provides all the necessary explanations regarding the behavior of the materials according to their characteristics and moisture content, along with a method for tuning back and top plates to the desired frequency, with optimized weight and thicknesses.

Several varnish recipes are included in the book, for your information. Each violin maker has his/her own recipe, which need not be changed, if it functions without adversely affecting the B1- and B1+ frequencies.