3D printing and its role in historical instrument copies

Article by Isobel Howard-Cordone

3D printing has become more and more significant over the last few years; it is an invaluable asset in many scientific fields, which can also be applied to various musical endeavours, such as creating copies of historical instruments. I’d like to share my experience with creating 3D copies, and explain why I think it is very a relevant and fascinating topic!

Creating historical copies with 3D printing requires a lot of knowledge, because many factors must be considered in order to be successful: the materials, the 3D template, the type of printing, and of course the original model on which to base the copy. Having an accurate and detailed source (where possible) is essential for a successful replica; in this respect, museums often have technical drawings available, or otherwise they can be visited in person to get direct measurements of the instruments. It’s always a good idea to choose an instrument where ample details are available in order to make the 3D modelling process easier, to avoid guesswork and to reduce possible errors!

While all instruments have the potential to be reproduced by 3D printing technology, each instrument has its own complexity and acoustic construction that needs to be studied carefully. My journey with 3D-printed instruments began when I started learning the baroque oboe and happened to meet instrument makers who used this new technology.

3D copy of a taille d’hautbois, made by F. Xiccato.

Traditionally, instruments such as strings, woodwinds, and keyboards are made from wood, which is an extremely complex and dynamic organic material. Wood is usually characterised as being anisotropic, meaning that its properties differ based on the direction of its fibres. It is also a highly porous material and absorbs humidity very well. So, what modern materials could be used faithfully replicate a wooden instrument from the 1700s?

Most 3D printers use polymers, or plastics – a category of materials exhibiting a vast range of diverse properties. The material choice is limited by several factors: cost, toxicity, availability, as well as compatibility with various methods of 3D printing. Certain polymers are ideal candidates for this purpose as they have properties which closely imitate wood, with one of the most common being Nylon (Polyamide). It has the advantages of being lightweight, hygroscopic and has excellent resistance; it’s also very compatible with 3D printers.

Next comes one of the most important step: creating a 3D template. Doing so requires both technical knowledge and proficiency in various computer programs, and it certainly helps to have also an understanding of the fundamentals of acoustics. This step involves using the available instrument measurements, making estimates, and translating this information to machine readable models.

Once the template is ready to print, it’s necessary to consider which 3D printing method may be the most suitable for the project. And here it is often a process of trial and error – a successful replica may require many further reviews and attempts before arriving at a satisfactory result.

So how do 3D instruments contribute to the musical landscape? Most importantly, they enable us to make copies of existing historical instruments and give us the chance to physically play them! This is very exciting if combined with a musical context from that period. As a musician specialised in early music, I’ve often been surprised (both positively and negatively) by how the copies sounded and the comparison with results from modern instruments. Being able to examine and analyse an instrument on such a practical level can give incredible insight into historical performance practises.

Another advantage is the great flexibility allowed by 3D printing. Once the 3D template is made, it can be easily scaled, adjusted and modified, something which would be very difficult to do with traditional instruments. This gives the freedom to further explore and improve the instrument, as well as experiment on a practical level (for example, changing the diapason by scaling the dimensions).

Drawing with measurements of an oboe top joint, from the Bate Collection, Oxford.

Last but not least, 3D printing offers advantages in terms of reduction of time and cost. Once a template is finalised, several instruments can be made, resulting in a very cost-effective process. The materials used are cheaper and more accessible compared to the wood of a traditional instrument. This is an extremely important element to consider, especially when dealing with types of wood that are protected or very difficult to obtain.

In my opinion, the technique of 3D printing should never be considered as a competitor or replacement for traditional instrument construction – instead it can be thought of as a powerful tool to enable us to increase our knowledge on historical instruments and experiment without interfering with the original models. I believe this is an area which has a lot of room for growth and development, and I hope to see exciting new projects emerge!