....... Next Brian says that two of the four strings have more power than the other two strings.
I should mention that he had a beautiful snake-wood tailpiece fitted to his violin.
We both played his violin and heard the problem the same.
Checking the tap tone (Fourier transform tap tone) against my wood reference tool, I was able to explain what that frequency needed to be for best performance (which two of his strings already were, and how the tailpiece could be adjusted to make the two weaker strings match those.
In his case I showed him the tap tone difference at the point where the string leaves the tailpiece.
The cure in this case was to scrape a little bit of the wood off until the tap tone there matched the good strings; (thinking of the expensive and beautiful snake-wood tailpiece).
Brian however said, it is my violin, please make the adjustment, which was easily accomplished (and barely showed).
This made all four strings have the same power.
We both played and agreed that that seemed to correct those two small problem areas.
Then Brian told me that he thought that the general membership could benefit from this information through the VSA Journal for the up coming issue.
He explained that only articles which had been peer-reviewed could be accepted for publication and that the society had three members permanently on the acoustical review board and that at least two would have to approve for the article to be accepted. However, he offered to help me write and article and then submit it for review.
The rest of the story....
  When ready, I (we) submitted the article for review.
  A short time later Brian contacted my with the news that two of the three reviewers had rejected the article, sending a short notes saying that "small changes can not make significant improvements"; which eliminated the article from publication.
  I suggested that his experience might perhaps make a difference; but he explained that his word would be considered anecdotal evidence only.
   I decided to do my amateur violin acoustical research and publish it on a website, shared for free.
  Now after a total of 23 years of effort {I am now 74 years of age}, I am at a point where I have unique useful skills to share (unless I am very wrong of course!} and make this free, in-person consultation service available to musicians, willing to stop by.