A few years ago, a friend of mine, who is a very accomplished player of the violin & viola and who is an amateur builder of violins & violas, sent me a video on YouTube [LINK] of the violin maker Peter Westerlund showing how to create violins (and violas, by the same logic and with only slightly different overall dimensions) that consistently produce sounds that people well-versed in European classical music judge to be of high quality. Many such people have praised the consistent warm & rich aural tones of violins & violas made in Italy by Andrea Guarneri around 1650 & Antonio Stradivari around 1700, yet it has been difficult for any violin maker to replicate such warm & rich tones in the violins that they have made, in part because there is little scientific consensus about the specific acoustic spectral qualities that make those violins so highly valued. Further complicating matters, as explained in a news article by Science magazine in 2017 [LINK], is the fact that many blind & double-blind studies have left musicians & keen listeners preferring contemporary violins over those made by Stradivari or Guarneri. Even if the instruments by made by Stradivari or Guarneri aren't consistently rated the best, they are rated very highly far more consistently than those made by other violin makers (though this may reflect selection bias in such tests), so there may be merit to considering how to replicate those instruments' aural qualities.
Traditionally, violin makers have carefully studied the exact dimensions, shapes, and materials used in instruments made by Stradivari or Guarneri and done their best to replicate them. However, the resulting aural qualities have typically been judged to be unsatisfactory. This is in various parts due to the effects of aging on the material components of violins (which generally cannot be artificially accelerated), one-off differences in instances of even the same materials used, slight deviations in the craftsmanship, shapes, or dimensions, and other factors that have yet to be explained. This motivated Westerlund (who is probably not the first person to come up with this method) to develop a method to reliably create instruments with highly consistent sounds even if they don't replicate sounds from instruments made by Stradivari or Guarneri per se. The method is as follows. Each violin or viola has a top plate and a back plate, and these are initially constructed separately, joined only later on corresponding sides of the ribs. For each plate, after getting the basic shape & thickness correct, the violin maker should further adjust the shape by tapping or rubbing the plate in various locations, ideally using the same tapping or rubbing motion with the same intensity every time. The violin maker should iteratively shape (by cutting or scraping) at & around those locations of tapping or rubbing and then continue to tap or rub at all locations, until eventually, the tapping or rubbing motion produces approximately the same tone at every location. Once that has been achieved, shaping of the plate is finished.
My background in theoretical & computational nanophotonics from graduate school, even though I was already a few years removed from that even by a few years ago (having changed fields to transportation research after graduate school [LINK]) when my friend shared that video with me, made me interested in trying to mathematically & physically understand why Westerlund's process is successful in creating instruments that have strong internal tonal consistency. However, I wasn't able to come up with a satisfactory answer until much more recently. Follow the jump to see more of my thinking about this, leading to the resolution.
