MAKING COPIES

SOUNDS
LIKE A
MATCH?
If someone makes an exact copy of a
Stradivari, will it sound like a Stradivari?
Sam Zygmuntowicz attempts to answer
the question by making duplicates of the
‘Titian’ and ‘Willemotte’ Strads, as well
as the ‘Plowden’ Guarneri ‘del Gesù’

V
iolin makers have flirted with science for a long In this article, I’ll first examine the old violins, and describe
time, and that relationship has only intensified my own process while constructing the new instruments. I’ll
with the passing years. In 2009 my project briefly explore sound and timbre subjectively and analytically.
‘Strad3D’ brought together the 1715 ‘Titian’ Finally I’ll compare the finished copies to each other, and to
Stradivari, the 1735 ‘Plowden’ Guarneri ‘del Gesù’ their original models. Will they show the same relative colours
and the 1734 ‘Willemotte’ Stradivari in Dr George Bissinger’s of sound as the original models?
lab, where they underwent 3D laser vibration scanning, CT Qualified scientific researchers associated with the Oberlin
scanning and sound analysis, to which we added traditional Violin Acoustics Workshop have added greatly to our basic
photos and measurements, plus musical reference recordings. understandings of sound and violin function. But for makers to
With research like this, there are certain questions that sceptics answer their own questions at the bench, we must venture on to
always ask. Does acoustic analysis deepen our understanding in thin ice, to draw our own ideas from the violins that we study.
a useful way? Can new violins really capture the characteristics Pure science is not my process and perspective here, but rather
of old instruments? Does all this inquiry actually help us make analytical speculation based on personal observations, to be
better instruments? To find out, I decided to use the Strad3D taken as such.
resources to make faithful copies of those three original violins. I’ve previously discussed these superlative violins at length in
Perceptions of any violin can be intensely individual, and vary these pages (see The Strad, April 2009, July 2011 and December
with the player, repertoire or venue. But as models for my new 2020) so here I will highlight just a few notable aspects:
instruments, I endeavoured to consider the three originals not • The ‘Plowden’, owned by Mark Ptashne, is from Guarneri’s
just as individual specimens but as a grouping, to compare and elegant middle period. It has a quite compact back length of
contrast construction details and the resulting sound. 351mm and shows dramatic wood and thick red varnish.
42 THE STRAD NOVEMBER 2021 www.thestrad.com
 Sam Zygmuntowicz’s
copies of (left–right) the
‘Plowden’ Guarneri ‘del
Gesù’ and the ‘Titian’ and
‘Willemotte’ Stradivaris

Notable on this instrument are its streamlined outline and

small corners, delicate overhang and low, smooth arching,
about 14mm on the top. SHOULD WE COPY WHAT WE SEE
• The ‘Titian’ Stradivari is an example of his ‘golden period’, NOW, INCORPORATE PERSONAL
with a back length of 353.3mm. The arching is moderate,
about 15.5mm on the top, well sculpted around the f-holes PREFERENCES, OR ADAPT TO
and with a full horizon arch. It gives an impression of
strength and elegance.
THE WOOD DIFFERENCES?
• The ‘Willemotte’ was built in the final years of Stradivari’s
ALL PHOTOS AND FIGURES S. ZYGMUNTOWICZ/M.J. KWAN

life when Antonio would have been 91. This violin still shows
his distinctive working style, with an impressive consistency Plus our wood will never be a perfect match. So, should we
across time. With a longer body length of 357mm, the copy what we see now, try to reconstruct the original intent,
‘Willemotte’ also has the highest top arching, at about incorporate personal preferences, or adapt to the wood
17mm, with an extended top horizon very full to the ends. differences? Each of the proposed new violins seemed to call
for its own approach.

C
opying is an old sport, but it is apparent that exact From our CT scans, radiologist Steve Sirr estimated that the
copying is not fully possible, as we always have to ‘Plowden’ and ‘Titian’ had comparatively low-density spruce
confront natural arching distortion and stress, ongoing and maple, and the ‘Willemotte’ top had a more moderate
modifications such as differing bass-bars and set-up, and the density. I tried to find wood with similar density, while still
effects of hard usage moderated by deliberate restorations. matching its appearance.
www.thestrad.com NOVEMBER 2021 THE STRAD 43
MAKING COPIES

I first measured and traced the ‘Plowden’ in 1982 and I’ve

looped back to revisit this model many times, making both
close copies and reinterpretations – even a personal variation
I had nicknamed the ‘Zowden’. In 2015 I returned to the
source material again, this time with the full Strad3D data set.
At the time of the first tests in 2006, the CT scans revealed
the ‘Plowden’ to have a comparatively small bass-bar, compared
to the ‘Willemotte’ and particularly to the ‘Titian’, which had
the largest bass-bar of the three. For my copy of the ‘Plowden’
I chose to fit a higher bass-bar, consistent with my own sound
preference for less ‘butter’ and more ‘sizzle’.
I first encountered the ‘Titian’ in 2005 and was struck by its
healthy response to adjustment, and its massive sound. I used
the CT scans to design my 2017 copy. Fitting the purfling into
the short corners required much finesse, with the outer purfling
strip strongly deviating from the scribed purfling mark to form
the characteristic Strad mitre ‘bee-sting’.
I followed the general thickness specifications of the originals
closely. For example, both the ‘Plowden’ and ‘Titian’ backs have
a ‘bull’s-eye’ thickness pattern, about 4.5mm in the centre, then
thinner in the flanks. I emulated this thickness pattern on the
backs of my copies, which to me felt relatively stiff when flexed
through the C-bouts, while comparatively flexible in the outer
bouts. The wood for my ‘Titian’ copy may have been a bit
denser than the original, so I reduced my thickness slightly. The
‘Willemotte’ back has a more even thickness pattern, about 4mm
in the centre, and I thought this made the new back relatively
flexible through the middle bouts, and stiffer in the outer bouts.
The ‘Willemotte’ top was somewhat thicker than the other two.
For my first interpretation of this distinctive violin, I chose to Working on the edgework of
the ‘Willemotte’ copy in 2021
follow that original thickness, and wait for the results.
The arching on each original showed expected asymmetry,
pushed higher on the soundpost side of the top and back.

W
I emulated the archings and included some of the asymmetry, ith the new violins completed, it was time to evaluate
but not all, anticipating that the new archings will continue their sound, individually and in comparison to each
to change under string tension, and come closer to the original other, and in reference to the original models. For
over time. a player, subjective evaluation is always the arbiter, but
The ‘Willemotte’, with its full arching and wide edge perceptions of violin sound are difficult to describe. Leaving
margins, gives a generous and massive impression. Simply aside preference and rankings, what’s missing from the
following the specifications of the original offered insight into discussion is a link between our language and an objective
the structural choices. For example, the purfling here has a measure of sound.
generous inset from the edge of almost 4.5mm, compared with Anyone who has equalised a recording has experienced how
the ‘Titian’ inset of 3.8mm. When I inlaid the purfling corners small changes to the harmonic balance can change our
on the copy, it was easy to see why the elderly Antonio may perception of tone colour. In a related approach, we used
have made this choice. Unlike the ‘Titian’, the wide margin calibrated sound tests of the original violins, which were
allowed the purfling to meet in the corner easily, without much analysed to document and display the harmonic balance in a
deviation, giving an almost effortless version of Stradivari’s ‘spectrum’ of sound. I’ll be focusing on three key frequency
distinctive bee-sting. ranges within this spectrum: low medium and high (see right).

THE ARCHING ON EACH ORIGINAL SHOWED

ASYMMETRY, PUSHED HIGHER ON THE
SOUNDPOST SIDE OF THE TOP AND BACK

44 THE STRAD NOVEMBER 2021 www.thestrad.com

 MAKING COPIES

UNDERSTANDING SPECTRA

To generate the ‘sound spectra’ shown All three original violins have had • The mid range extends from about
below and on page 46, each violin was adjustment or modifications over the 800Hz to 1,200Hz. I associate this
supported, the bridge was tapped with years, including new bass-bars on frequency region with presence and
a calibrated impulse, and the resulting the ‘Plowden’ and ‘Willemotte’. These edge. Instruments with low output here
sound radiation of the top and back modifications did change the perceptions might have a dulcet and smooth sound,
recorded with a microphone. Computer of their sound, and altered details of while excessive output here may be
software then analysed the sample to the spectral response, particularly perceived as edgy or rough. I think of the
display the violin’s resonance profile. I last increasing the frequencies of the ‘B1-‘ mid range as the ‘spice’ of violin sound:
tested the ‘Plowden’ and ‘Willemotte’ in and ‘B1+’ modes. However, the general good in moderation, seasoned to taste.
2011, and the ‘Titian’ in 2016. My testing formant and harmonic balance of • The high range extends from about
microphone amplitude settings have each violin remained recognisable. 1,800Hz to 4,000Hz. The human ear
subsequently changed, so the older While playability and other aspects of is most sensitive in this region, which
results have been adjusted in amplitude sound remain elusive, these spectra seem seems associated with brilliance,
display, for comparison purposes only. useful to document timbre. Every played ‘sizzle’ and carrying power.
Figure 1, below, shows the relative note contains many higher harmonics,
amplitude of the varied resonances, so the entire spectrum is relevant. Here There have been many interpretations of
with frequencies displayed horizontally, I present a simplification of the influential spectra. I have tried to isolate the most
higher from left to right. The amplitude is frequency regions, and an attempt to influential frequency areas or bands
displayed vertically, rising from bottom describe the associated tone colours: that could describe timbre. My chosen
to top. Both are displayed logarithmically, • Our lower range here extends bands are where the ‘hills’ of activity are
which gives a better visual approximation from about 200Hz to 600Hz, which commonly found, and the space between
of our perception of sound. Some includes the violin’s strongest is where one finds the dips of less activity.
displays are smoothed, to highlight resonances, and is generally The placement and depth of the dips is
the overall profiles or ‘formants’. associated with fullness and warmth significant, but not as well studied.

FIGURE 1 Sound spectra of (top) the three original violins, and (bottom) the three Zygmuntowicz copies

www.thestrad.com NOVEMBER 2021 THE STRAD 45

MAKING COPIES

In each case, the red

del Gesù line shows the spectrum
of the original
instrument, while the
black line shows that of
the copy. Superimposed
is a smoothed line to
indicate trends.

The ‘Plowden’ spectrum

shows a strong
extended mid range,
separated from the high
hill by a marked dip
around 1,700Hz.

The ‘Titian’ has a

smoothed spectrum
with a distinct high
range plateau.

The ‘Willemotte’ has

a lowered mid range,
allowing the high hill
to rise at a lower
frequency.

-----------------------------

These spectra should be

interpreted with caution,
but they do show the
arrays of resonance
peaks which contribute
to timbre.

Each peak is produced

by a specific pattern of
vibration of the violin
body, and these patterns
of vibration are
determined by each
violin’s body’s shapes
and stiffness.

Describing the ‘Plowden’ in 2011, I stated: ‘Tonally this is description, and to my ears the ‘Titian’ does have a strong focus
one of the most appealing violins I have played. The tone is to the sound, and a consistent intensity on the E string.
smooth and velvety, with a touch of reediness that gives Leonidas Kavakos comments about his violin: ‘The
presence to the sound’. Compared to the sound spectra of “Willemotte” is a very robust, powerful instrument... It has a
the‘Willemotte’ and ‘Titian’, the ‘Plowden’ showed strong refined, perfumed kind of tone quality under the ear, yet when
resonance in the low frequency band, and less prominent I hear someone else play it in a concert hall, it has an incredibly
output in the high frequency ranges, which would fit with complex, multidimensional character.’ This combination,
a ‘smooth and velvety character’, but it presented a strong supple under the ear yet complex and carrying in the hall,
mid-range output, which I find consistent with a ‘reediness may seem paradoxical but it can be understood in context.
that gives presence’. The sound spectrum of the ‘Willemotte’ is distinctive, with
Cho-Liang Lin writes about his instrument: ‘I would describe a moderate low range and a lowered output in the mid-range
the “Titian” sound as aristocratic, with a really ringing upper region. I find that stronger mid-range output enhances the
register and a rich, full G string. Throughout the entire range sensation of presence or edge under the ear, so this reduced
of the violin, there is an incredible core of sound that is both mid range might well give a more refined impression to the
powerful and nuanced.’ The ‘Titian’ shows relatively balanced player, and would highlight the extended high range, which
spectra, with filled-in dips and moderated peaks throughout we would expect to carry well in a hall and aid modulations
its spectrum. I think this is consistent with Cho-Liang Lin’s and vibrato.
46 THE STRAD NOVEMBER 2021 www.thestrad.com
 I started this discussion with three questions. First:
does acoustic analysis help us understand violin function
in a useful way? For me, considering instruments in this
full context is the most direct way to perceive trends in
cause and effect. For example, in this study set, arching
emerged as the clearest variable. The ‘Willemotte’ and
‘Plowden’ had the highest and lowest arching respectively,
and tonal comparison suggested that the high full arch of
the ‘Willemotte’ could be linked with its lowered mid
range and strong high-range output, compared to the low The three copies set
arch of the ‘Plowden’, its attendant strong mid range and up for adjustment
relatively reduced high range. The moderately arched
‘Titian’ was placed in between, with a more even response
across the low, mid and high ranges. If this type of
observation holds, we may begin to get our fingers on the
tone sliders that create the sounds our clients want.
Secondly: can the new violins capture the characteristics
of the old instruments? In fact, the new instruments did
show comparable trends related to the originals, along with
some differences. The low-arched ‘Plowden’ copy had a
similar strong and extended mid range, for a good ‘del Gesù’
growl, but a somewhat enhanced high range for some extra
brilliance. The ‘Willemotte’ copy followed the trends of the
original closely, with a lowered mid range and stronger
extended high range. To my ears this gave a stentorian
gravity, which to me seems reminiscent of the original.
The spectrum of the ‘Titian’ copy was slightly less full in
the low range, but to my ears still projected the focus and
mass that I associate with the original.

N
ot surprisingly, the three new instruments also
showed a strong resemblance to each other,
especially in response and playability. A maker
faces a hundred small decisions, and will tend to use the
same type of bass-bar, the same ground and varnish, and a
similar set-up each time. One can never leave one’s own
sensibility behind, and individual style and preferences will The ‘Plowden’ copy suspended
always show through even in the process of close copying. in tap-testing apparatus

The ideas proposed in this article are subject to debate

and revision, but the Strad3D data and documentation
have proved a deep and enduring resource for this project.
To make this presentation and archive available again, we
have completely reprogrammed Strad3D for a new edition,
with the interface and interactive features fully restored.
More information is available at www.Strad3D.org.
At the completion of this project, we are left with the
original question: does this inquiry help us make better
instruments? The first answer would have to be: better for
what? Blind tests of old and new violins consistently show
that tastes differ widely, but individual players know what
they like. So for a player, ‘better’ means getting more of
what they want. And for a maker, ‘better’ means reliably
giving that player more of what they need. To me,
understanding the link between structure and sound is the
key to these aims. I find that this expanded approach leads
to a strangely satisfying way of working, with structure and
vibration, instrument and future player, original intent Posters of the ‘Titian’, ‘Willemotte’ and ‘Plowden’ are
and potential changes all intertwined, and projecting all available at The Strad Shop: www.thestradshop.com
forward to help visualise the violin yet to be, in action.
www.thestrad.com NOVEMBER 2021 THE STRAD 47