Body resonances aligned to open-string fundamentals give each string instrument its timbre

Evidence

There are basic differences between the members of the orchestral string family (violin, viola, cello and double bass). They differ from each other acoustically in that the size of the body of each instrument becomes smaller relative to the f0 values of the open strings (e.g., Hutchins, 1978). The air and tap resonances approximately coincide as follows: for the violin with f0 of the D4 (second string) and A4 (third string) strings, respectively, for the viola with f0 values approximately midway between the G3 and D4 (second and third strings) and D4 and A4 (third and fourth strings) strings, respectively, for the cello with f0 of the G2 string and approximately midway between the D3 and A3 (third and fourth strings), respectively and for the double bass with f0 of the D2 (third string) and G2 (fourth string) strings, respectively. Thus there is more acoustic support for the lower notes of the violin than for those of the viola or the double bass, and the varying distribution of these two resonances between the instruments of the string family is part of the acoustic reason why each member of the family has its own characteristic sound. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1126

Categorization

• QUESTION: The double bass’s air/tap resonances sit at D2/G2 while strings go lower — how is the lowest fundamental radiated then? Worth checking.
• XREF: connects to: Air and tap resonances align with open-string fundamentals that differ across instrument sizes — David Howard, Jamie Angus, coustics and Psychoacoustics, 1151; Resonance placement differences explain each string instrument’s characteristic tone — David Howard, Jamie Angus, coustics and Psychoacoustics, 1153; Body size relative to open-string pitch shapes each string instrument’s distinctive timbre. (+8 more)

Broader Connections

• Air and tap resonances align with open-string fundamentals that differ across instrument sizes #expands (0.88) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1151
• Resonance placement differences explain each string instrument’s characteristic tone #expands (0.86) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1153
• Body size relative to open-string pitch shapes each string instrument’s distinctive timbre. #expands (0.85)
• Air and top-plate resonances dominate violin low-frequency response #exemplifies (0.82) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1116
• Body-volume changes drive the Helmholtz air mode in stringed instruments #expands (0.81) — Eric J. Heller, Why You Hear What You Hear- An…, 1794
• An instrument’s playability depends on many cooperating, accurately tuned resonances #corroborates (0.80) — Eric J. Heller, Why You Hear What You Hear- An…, 1555
• Violin body tone is dominated by just two low-frequency resonances #exemplifies (0.79)
• All stringed instruments share a source-modifier acoustic model #expands (0.78)
• The violin bridge’s carved resonance boosts treble frequencies to shape timbre #exemplifies (0.76) — Eric J. Heller, Why You Hear What You Hear- An…, 1770
• Instrument design exploits impedance mismatches to create resonance and timbre #qualifies (0.72) — Eric J. Heller, Why You Hear What You Hear- An…, 83
• Helmholtz resonance shapes violin bodies, speaker designs, and car cabin noise #exemplifies (0.71) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 160