It is questionable whether any customers who've taken deliveries and been operating the A380 have seen a return on their investment yet given the jet's $400million-plus per-hull list price (although most customers paid less than that due to deals and subsidies); but sadder is that price doesn't even cover the actual production cost of the airplane, so Airbus itself has never made any money whatsoever on the A380. An internal review by Airbus determined that there wasn't enough demand for the A380 to justify continuing producing them at a loss, with most airlines opting for much more economical two-engine widebody jets for their oceanic routes.
It would seem that the age of the "jumbo jet" is over anyway, passenger-wise; Boeing stopped building passenger 747's in 2016. The difference is that Boeing is still making 747 freighters and still has orders for them through the next few years; while Airbus canceled development of the cargo variant of the A380 early on before any were produced, so it has no freighters to sell. Oops.
The Violin Museum, which was already concerned about preserving these sounds for future generations, agreed. It enlisted Lorenzi and four other world-class musicians from Italy and the Netherlands to play four prized instruments for posterity — the 1700 Antonio Stradivari "Stauffer" cello, the 1727 Antonio Stradivari "Vesuvius" violin, a 1615 "Stauffer" viola by Girolamo Amati, and the 1734 "Prince Doria" violin by Guarneri del Gesù.
But their task wouldn't be to record complete compositions. Rather, they would have to painstakingly record every possible note that can be played on each instrument. "Every possible note, and even more difficult, every note transition," explains Tedeschi. "From one note to all the other ones in the same string. It's a very complicated process, so there will be several hundred thousand files to be edited."
In the concert hall, Lorenzi, who is with the Italian Symphony Orchestra and has performed in the world's top concert halls, plucks the notes C, D, E, F, G, A, B and C — "do, re, mi, fa, sol, la, ti, do" — on the Stradivarius violin. Then down the scale, until the engineers say they've got it. "There's something very meditative about it," he says. "It takes a lot of mental and physical concentration. It's one of the most demanding things I've ever done."