Unexplainable (Vox)
Episode: What's good sound?
Date: January 28, 2026
Host: Meredith Hoddinott
Guest: Michael Doran, Violin and Cello Maker (Seattle)
Episode Overview
This episode explores the nuanced world of sound quality, particularly as it relates to tuning and instrument-making. Guided by guest Michael Doran, a violin and cello maker, host Meredith Hoddinott investigates what makes certain musical notes — especially the standardized A440 — "good," and how tiny frequency differences can utterly change the experience of sound. Doran provides an insider's look into the craft of instrument-making, the subjective and scientific elements of sound, and the mysteries that continue to challenge luthiers.
Key Discussion Points and Insights
1. Listener Email & The Tuning of "A" (01:42 – 04:06)
- Michael Doran shares his background as a violin and cello maker and reflects on an earlier episode about the journey to standardize the musical note "A" at 440 Hz.
- Orchestras tune at slightly different frequencies: San Francisco and Boston symphonies sometimes tune sharper (441–444 Hz), though 441 Hz is typical; Berlin Symphony uses 442 Hz.
- Small increases in tuning (1–3 Hz) can make instruments sound more brilliant and project more in an ensemble.
- Quote:
"It's amazing just how a tiny bit sharper can give a lot more projection and brilliance... an interesting puzzle for makers."
— Michael Doran (02:41) - Doran humorously corrects a factual error after calling the Boston Symphony’s principal cellist:
"Do you guys really tune to 444? And he was like, 'No, we tuned to 441.' And I was like, 'Do you ever tune, like, when you're soloing, do you tune 1 Hz higher to get an edge?' And he's like, 'I don't need an edge.'"
— Michael Doran (03:27)
2. Personal Perceptions of Tuning (04:06 – 07:17)
- Doran describes two regular customers: Andrew (a 440 Hz "purist") and Max (loves 443 Hz, calls it a "happy A").
- Even tiny differences in tuning give violins unique personalities—Max’s violin feels “direct and focused, almost edgy,” while Andrew’s is “relaxed, easy to sink into.”
- Quote:
"It almost made me, like, just a little bit uncomfortable to listen to [443]. And then the 440 ... you can kind of sink into that."
— Michael Doran (04:54) - Player individuality and string choice (e.g., gold-wrapped strings for warmth) also contribute to the complexity of "good sound."
- Vibes and presence: 440 Hz perceived as relaxed, 443 Hz is more energetic or anxious.
3. Physics and Perception: Frequencies & Overtones (07:17 – 10:36)
- Explains how 440 Hz literally means 440 cycles per second—minor differences have cumulative effects on perception and sound energy.
- Highlights the complexity of stringed instrument acoustics, including partials/overtones that color tone and presence beyond a simple sine wave.
- Quote:
"I don't actually want all of the energy to go into making that pure tone. I need some of it to go into the overtones and the notes around the note... That's how violinists talk about, like, a sweet tone or a piercing tone."
— Michael Doran (08:04) - Compares sound complexity to the difference between pure vanillin extract and a real vanilla pod.
4. The Mystery and Complexity of Sound (10:36 – 14:26)
- String instruments are among “the most complex vibrating machines that humans have ever made.”
- Each piece of wood is unique, so every instrument is a singular creation; the “mountaintop” of perfect sound is always out of reach.
- Instrument makers are always navigating a web of variables; “change one thing, and it changes five others.”
- Quote:
"My job as a maker is to take the materials that I have... and somehow find the narrow path... We're just nailing down some of those basic questions, like, what is nice sound?"
— Michael Doran (12:14)
5. The “Soul” of the Instrument & Fine Adjustments (13:11 – 14:41)
- The “sound post” is referred to as the “soul of the instrument.” Its placement impacts tonal balance significantly.
- Violin makers adjust components like the sound post by fractions of millimeters to affect sound projection on different strings.
6. Crafting Instruments: Choices and Signatures (14:41 – 16:11)
- Doran aims to balance “brighter and more powerful” sounds with “warmer, more chocolatey” intimacy.
- Instruments as siblings, not twins—no two are identical, though Doran hears a familial “signature” to his creations.
- Memorable anecdote:
In a competition setting, Doran could identify his cellos by ear in a large hall, reinforcing the subtle individuality imparted by the maker.
7. Studio Tour and the Tools of a Luthier (17:54 – 23:11)
- Doran describes his workshop—a converted one-car garage with a distinctive aroma of wood, varnish, and “possibility.”
- Raw materials: Violin wood is brought in as wedges, not milled lumber; a single tree could potentially yield a lifetime’s worth of instruments.
- All power tools are vintage, personally restored antiques.
- Focus on handmade “finger planes”—tiny, custom-crafted tools that Doran uses to precisely shape instrument contours.
- Quote:
"They're a very personal thing to me... The shape that I carve with these tools is kind of endemic to these tools and my hands and how they work."
— Michael Doran (22:35)
8. Personal Fulfillment (23:28 – 24:10)
- Doran’s dedication is profound—he’d continue making instruments irrespective of money:
"If tomorrow I got all the money in the world and I didn't have to work anymore, I would still show up to work here every day. Absolutely. Because this is what I love to do. I can't imagine doing anything else."
— Michael Doran (23:33)
Notable Quotes
-
On Sound Quality:
"There's a mountaintop in the distance, but you can never quite reach it because... every piece of wood and every player is different, and every interpretation of sound is different."
— Michael Doran (10:36) -
On Instrument Identity:
"I like to think of my instruments as siblings, not twins... But several times I would be talking to somebody, and my back would be turned to the cello section, and I would hear a cello, and I would say, oh, that's my cello. I can tell that's my cello."
— Michael Doran (15:02) -
On Workshop Atmosphere:
"There's this smell to the shop. It's kind of a mixture of like wood and varnish and possibility..."
— Michael Doran (17:56) -
On Craftsmanship:
"Letting the tool do the work... it's like your fingerprint on it, because you know exactly what those tools are, and they're unique to you."
— Meredith Hoddinott & Michael Doran (22:50)
Timestamps for Key Segments
- 01:42 — Listener email; Doran’s intro; variable orchestral tuning
- 02:22 — Tuning up for projection; physical impacts on instruments
- 03:22 — Fact check on actual tuning practices
- 04:06–05:06 — “440 purist” vs. “happy A”; micro-differences in violin sound
- 06:16 — Personality of play; string choice and style
- 07:17 — Physical explanation of tuning/frequency
- 08:04 — Overtones; tone color; complexity akin to the human voice
- 10:36 — Sound complexity and persistent mysteries
- 12:11 — The challenges of scientific experimentation in luthiery
- 13:11 — Sound post adjustments; influence on sound
- 14:41 — Maker’s unique “signature” and recognition; anecdote from competition
- 17:54 — Workshop tour; materials; tools
- 20:08 — Favorite tools: handmade finger planes
- 23:28 — Motivation; love of craft
Tone and Style
The conversation is earnest, enthusiastic, accessible, and shot through with the affectionate humor and humility of a master craftsman constantly in awe of his material and his mysterious art. There’s a balance between technical detail and poetic appreciation, making the technicalities of musical acoustics and luthiery approachable and resonant for listeners of all backgrounds.
Summary Prepared For:
Listeners and readers seeking a rich, behind-the-scenes look at the art and science of musical sound, the elusive definition of “good sound,” and the passion and personality behind every handmade instrument.