For centuries, wood, and more specifically spruce, has been the material of choice for violin top plates. Lately, carbon fiber instruments have entered the market. Some studies show that composite materials have potential advantages for making instruments [Damodaran, Lessard, and Babu, Acoust. Aust. 43, 117–122 (2015)]. However, no studies exist that evaluate violins made of different composite materials as judged by listeners. For this study, six prototype violins, differing only by the material of the top plate, were manufactured in a controlled laboratory setting. The six prototype violins were judged by experienced listeners in two double-blind experiments. In contrast to popular opinion that violins made from carbon have or lack a specific sound quality, the study provides insights in the diverse sounds and timbres violins from fiber-reinforced polymers can create. It allows an investigation of the links between the perception and the variations in material properties of the soundboards. Additionally, as neither players nor listeners are acquainted with these instruments, these results provide an interesting view on what type of qualities of violin-like sounds are preferred by listeners.

1.
A.
Damodaran
,
L.
Lessard
, and
A.
Suresh Babu
, “
An overview of fibre-reinforced composites for musical instrument soundboards
,”
Acoust. Aust.
43
,
117
122
(
2015
).
2.
C.
Besnainou
, “
From wood mechanical measurements to composite materials for musical instruments: New technology for instrument makers
,”
MRS Bull
20
,
34
36
(
1995
).
3.
M. M.
Jalili
,
S.
Yahya Mousavi
, and
A. S.
Pirayeshfar
, “
Investigating the acoustical properties of carbon fiber-, glass fiber-, and hemp fiber-reinforced polyester composites
,”
Polym. Compos.
35
(
11
),
2103
2111
(
2014
).
4.
T.
Ono
and
D.
Isomura
, “
Acoustic characteristics of carbon fibre reinforced synthetic wood for musical instrument soundboards
,”
Acoust. Sci. Technol.
25
,
475
477
(
2004
).
5.
T.
Ono
and
A.
Okuda
, “
Acoustic characteristics of guitars with a top board of carbon fiber-reinforced composites
,”
Acoust. Sci. Technol.
28
,
442
443
(
2007
).
6.
S.
Webb
, “
Carbon-fiber cellos no longer playing second-fiddle to wooden instruments
,” http://www.scientificamerican.com/article/carbon-fiber-cellos (Last viewed 22 July
2019
).
7.
J.
Dominy
and
P.
Killingback
, “
The development of a carbon fibre violin
,” in
Proceedings of ICCM-17 Conference A 6.2
, Edinburgh (
2009
).
8.
M.
Parish
, “
Perfecting the sustainable guitar
,” http://www.mmrmagazine.com/81-current-issue/spotlight/389-perfecting-the-sustainable-guitar.html (2013) (Last viewed 15 December
2014
).
9.
S.
Phillips
and
L.
Lessard
, “
Application of natural fiber composites to musical instrument top plates
,”
J. Compos. Mater.
46
,
145
154
(
2012
).
10.
G.
Bissinger
, “
Structural acoustics of good and bad violins
,”
J. Acoust. Soc. Am.
124
,
1764
1773
(
2008
).
11.
C.
Fritz
and
D.
Dubois
, “
Perceptual evaluation of musical instruments: State of the art and methodology
,”
Acta Acust. Acust.
101
,
369
381
(
2015
).
12.
C.
Fritz
,
J.
Curtin
,
J.
Poitevineau
,
P.
Morrel-Samuels
, and
F. C.
Tao
, “
Player preferences among new and old violins
,”
Proc. Natl. Acad. Sci. U.S.A.
109
,
760
763
(
2012
).
13.
C.
Fritz
,
J.
Curtin
,
J.
Poitevineau
,
H.
Borsarello
,
I.
Wollman
,
F. C.
Tao
, and
T.
Ghasarossian
, “
Soloist evaluations of six old Italian and six new violins
,”
Proc. Natl. Acad. Sci. U.S.A.
111
,
7224
7229
(
2014
).
14.
C.
Fritz
,
J.
Curtin
,
J.
Poitevineau
, and
F. C.
Tao
, “
Listener evaluations of new and old Italian violin
,”
Proc. Natl. Acad. Sci. U.S.A.
114
,
5395
5400
(
2017
).
15.
See supplementary material at http://dx.doi.org/10.1121/10.0001159 for a video showing the making process (of a cello), information on the materials and construction method, information on the sound radiation measurements and additional information, questionnaires, and results of the listening tests.
16.
C.
Johnson
and
R.
Courtnall
,
The Art of Violin Making
(
Robert Hale
,
London
,
1999
).
17.
H.
Weisshaar
and
M.
Shipman
,
Violin Restoration a Manual for Violinmakers
(
Weisshaar-Shipman
,
Los Angeles
,
1988
).
18.
eLamX 2.3 Java(TM) SE Runtime Environment, TU Dresden, Dresden, https://tu-dresden.de/ing/maschinenwesen/ilr/lft/elamx2/elamx (Last viewed 28 April
2017
).
19.
T.
Duerinck
, “
What's the alternative?
,”
The Strad
129
,
52
56
(
2018
).
20.
C.
Fritz
,
A.
Blackwell
,
I.
Cross
,
J.
Woodhouse
, and
B.
Moore
, “
Exploring violin sound quality: Investigating English timbre descriptors and correlating resynthesized acoustical modifications with perceptual properties
,”
J. Acoust. Soc. Am.
131
,
783
794
(
2012
).
21.
C.
Saitis
,
B. L.
Giordano
,
C.
Fritz
, and
G. P.
Scavone
, “
Perceptual evaluation of violins: A quantitative analysis of preference judgments by experienced players
,”
J. Acoust. Soc. Am.
132
,
4002
4012
(
2012
).
22.
U. G. K.
Wegst
, “
Wood for sound
,”
Am. J. Botany
93
(
10
),
1439
1448
(
2006
).
23.
R.
Viala
, “
Towards a model-based decision support tool for stringed musical instruments making
,” Ph.D. dissertation,
University of Bourgogne Franche-Comté
,
France
(
2018
).
24.
L.
Page
and
K.
Page
, “
Last shall be first: A field study of biases in sequential performance evaluation on the Idol series
,”
J. Econ. Behav. Organ.
73
,
186
198
(
2010
).

Supplementary Material

You do not currently have access to this content.