This issue does not apply to violins only, but also to any family of musical instruments or groups of same instruments by the same maker. Yes, it is true as Rcprince points out, that some of the unique nuances of tone and expression that some instruments or groups of instruments by the same maker are lost or at least blurred by the recording process, but there is still plenty of information that is captured to make identification not only possible, but as Danvect points out, quite obvious. These "subtle" differences in timbre, as in the case of Strads vs. Guarnieris, are far more obvious than the differences between say, a Siemens and a Telefunken 6DJ8, differences that we audiophiles agonize over. The problem is that we as audiophiles have many more opportunities to compare different cables, tubes, cartridges etc., so as to form opinions concerning their "family" sounds, than opportunities to hear comparisons of different musical instruments or different equipment used by musicians. But plenty of recorded examples exist; we just need to know what they are.
While I can't claim to be an expert on vintage violins, I can speak with some authority on this issue as concerns woodwind instruments (I play them for a living). The sound of say, a Powell flute, regardless of vintage, is quite different from that of a Haynes or a Brannen; the differences are not that subtle, and are easily captured by the recording process. To hear a classic Haynes sound listen to any recording of Jean Pierre Rampal. An even better example of captured differences in the sound of different makes of flutes are the recordings fo James Galway. Listen to the 1972 recording of the Mozart Flute and Harp Concerto in C K.299 (Angel SC-3783). On this recording Galway, still playing principal flute with the Berlin Phil., is playing on a Powell flute. For comparison, listen to any of his solo recordings on RCA; he plays a Brannen on all of these. If the fact that the Brannen is far more brilliant, aggressive, and almost tin-whistle like is not obvious in comparison to the Powell's suppleness; then as Danvect says, you need a new system.
Other examples: Pepper Adams "Ecounter" Prestige 7677 (1969). Classic Pepper Adams; beautifull and robust baritone sax sound with plenty of warmth and growl. Pepper used a Berg Larson mouthpiece on his horn during the 60's and 70's. His mouthpiece was damaged in the early 80's and had to switch to a Dukoff. Listen to the dramatic difference in sound, and how much more edge and lack of bottom his sound has on "Urban Dreams", Palo Alto Jazz Records PA8009. Incidentally, these differences are not the result of different recording techniques; although this can obviously have an important effect.
Any of Phil Woods' recordings pre 80's. "Rights Of Swing" (1961)or even his great alto solo on Billy Joel's "I Love You Just The Way You Are", are great examples of the classic Selmer(Paris)made saxophone sound: bright but with lots of body and very complex. In the 80's Phil switched to a Yamaha alto. On "Heaven", Blackhawk Records BKH50401-D, the Yamaha's thinner and less complex sound could not be more obvious.
By and large, the differences that we are talking about here are far greater than the differences that dedicated audiophiles are able to hear by "tweaking" our systems. And once again we, IMO, come back to the reality that for the audiophile that wants to really sensitize him/herself to details such as these; the best education is a good amount of exposure to live music. In the live music experience, all the details and wonderfull complexities of fine musical instruments, are revealed that much more obviously.
To anyone really committed to learning about what makes instruments tick, so to speak, from the musician's perspective; there are plenty of resources. Periodicals such as "Woodwind Player", "Downbeat", "The Grenadilla Society", "Stradiverius Society", "Flute Talk" and others offer articles and interviews with leading professionals and discussions on this very topic.
Regards and Happy Holidays.
