She slept with a violin on her pillow

Acoustics, Stradivari, and Old vs New Instruments

• Several comments question the near-mystical status of Stradivarius and other old violins.
• Multiple blind-test studies are cited where players and audiences often cannot reliably distinguish old from new, and sometimes prefer modern instruments.
• Others argue tests may be biased: old instruments in those studies may not have had optimal setup or adjustments, unlike the new ones.
• Some claim wood has an acoustic “prime” (roughly a few decades) and then degrades, suggesting very old instruments are past their best and heavily rebuilt anyway.
• There is concern that violin culture treats Strads as the unattainable ideal, discouraging fundamental innovation.

Handmade vs Factory and Player Experience

• Handcrafted instruments are seen as superior because makers can respond to each piece of wood’s unique resonance (e.g., via tap tuning).
• Others note that factory instruments have tighter quality control but can’t tailor to individual “personalities” of wood.
• Several musicians emphasize the feedback loop between instrument and player: even if two instruments can produce similar sounds, one may “invite” better or easier playing.

Artificial Aging (“Antiquing”) and Aesthetics

• Many are uneasy with deliberate cosmetic aging (scratches, yellowed labels, fake wear), calling it deceptive or “relic-ing” akin to pre-ripped jeans or distressed furniture.
• Others defend it as a purely cosmetic, market-driven design choice; not dishonest unless age is misrepresented.
• Some players prefer non-antiqued instruments; others note that antiquing helps a new instrument visually blend with older ones and reduces anxiety about damage.
• There is disagreement over whether serious contemporary luthiers commonly antique; it’s described as controversial but widespread.

Materials and Innovation (Carbon Fiber, Composites)

• Carbon fiber instruments are viewed as acceptable travel or niche tools but generally not yet acoustically outstanding.
• One perspective is that current carbon-fiber builds use suboptimal composite methods (too much resin, flashy weave) driven by looks rather than acoustics.
• Discussion notes that traditional finishes and construction choices significantly affect damping and projection.

Passion and Youth

• Commenters are impressed by intense teenage dedication to such an esoteric craft.
• Some argue this kind of passion has always been rare and can be hindered by unsupportive environments and school schedules, rather than by “kids these days.”