阿玛蒂的背板厚度分布是这样的:它的最厚处在琴中央;中央与两边的厚度常常可以看到很大的差别(见连载三图 2a和b)。这种背板厚度分布所得出的经验使我深信,这种体系方法有助于产生银铃般透明的声音,也许还会取得增强更高的泛音效果的性能。阿玛蒂的提琴特别明显表现出的正是这种性能。但是阿玛蒂式的音板厚度分布导致这种情况发生:拉琴时不得不非常小心,因为压弓用力过大就得不到提琴的足够抗力,声音就好像“坐沉下去”。由于这个缘故阿玛蒂提琴的声音不够强大有力。阿玛蒂的提琴,我有时会发现面板上也有加厚的地方;这里最厚的一点就是 Amati’s backsheet thickness distribution is such that its thickest point lies in the middle of the piano; the thicknesses at the center and on both sides often differ greatly (see Figure 2a and b). The experience gained with this backsheet thickness distribution convinced me that this system approach helps to produce a silver bells-like transparent sound, perhaps with enhanced overtones. Amati violin is clearly evident in this performance. But the Armadillo soundboard thickness distribution led to this situation: the violin had to be very cautious, because the bow too hard to get enough violin resistance, the sound is like “sit and sink.” Due to this reason Amati violin sound is not strong enough. Amati violin, I sometimes find there are thickening of the panel; the thickest point here is