From a physics perspective, the piano code can be seen as a boundary condition or constraint that limits the way the strings vibrate. According to the question raised by Mark Kac in 1966, "Can you hear the shape of a drum?"， We can infer that if we can hear the shape of a drum, theoretically we should also be able to hear the "shape" of a stringed instrument. This is because the timbre of string instruments is influenced by their physical structure, including the shape of the piano code. The shape of the piano code determines the boundary conditions of the vibration mode of the strings, which in turn affects the generation and distribution of harmonics, thereby affecting the timbre.

In addition, the shape of the piano code is also related to the resonance characteristics of the piano body. As a closed or semi closed space, the internal structure of the qin body (including the position and shape of the qin code) can affect the propagation and reflection of sound. The qin code not only serves as a medium for transmitting vibrations, but also affects the flow of air inside the qin body through its shape, further affecting the quality and richness of the timbre.

The influence of violin code shape on timbre can be understood from the following aspects:

1) The piano code, as a boundary condition, limits the way the strings vibrate;

2) The shape of the piano code affects the generation and distribution of harmonics;

3) The piano code further affects the quality and richness of the sound by influencing the flow of airflow inside the piano body. These factors work together to determine the timbre characteristics of the violin.