Sounds can be very difficult to evaluate, and even more difficult to memorize. When changing strings, making soundpost adjustments and so on, it's easy to fool oneself that there is a big improvement in sound, though it might just be the pleasing effect of change - that is, any change. I sometimes use small lumps of modelling clay to find out if I want to add or remove weight from the tailpiece. If I'm not alert, I can find that the sound improves when I add a piece of clay - when I remove it the sound becomes even better! Now, if that was an accurate observation I could make a mediocre violin sound like a million dollar one by just adding and removing the piece of clay a hundred times or so. Unfortunately that won't happen.

If you're a violinist, and you're not cautious, you might fall prey to the dreaded soundpost disease, the symptom being that you want to have the soundpost adjusted several times each week. You might even buy a soundpost setter and start adjusting the soundpost yourself. That's when it becomes really dangerous, both for your own mental health and for the instrument. A couple of hundred soundpost moves later, the inside of the violin top will probably be severely worn, and a soundpost patch might be needed. That's a really expensive repair, and can only be performed by a trained luthier. In the process you'll probably find yourself less and less content with the sound of the violin, and that was certainly not the purpose from the start.

On the other hand, a healthy interest in the sound and performance of your instrument, and a good relationship with a luthier who is proficient in the art of violin adjustments, can gradually make your instrument perfectly adapted to support you in shaping the sound you want to deliver. It's often the adjustments that improve the response and playability, rather than the sound of the instrument, that produce the most dramatic improvements. After all, it's the musician who makes music through the violin, and not the other way around.