Every stringed instrument is analyzable as a sound source plus modifiers

Evidence

In each case, the acoustic output from the instrument can be considered in terms of an input sound source and sound modifiers as illus­ trated in Figure 4.1. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1092

Categorization

• XREF: connects to: All stringed instruments share a source-modifier acoustic model; All musical instruments and voices share a source-filter acoustic structure — David Howard, Jamie Angus, coustics and Psychoacoustics, 2592; Measured instrument spectra reveal both the source and the sound modifiers at once (+6 more)

Broader Connections

• All stringed instruments share a source-modifier acoustic model #corroborates (1.00)
• All musical instruments and voices share a source-filter acoustic structure #expands (0.95) — David Howard, Jamie Angus, coustics and Psychoacoustics, 2592
• Musical instruments are analyzed as input through a modifying system to output #corroborates (0.85) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1081
• The string drives the sounding board that produces nearly all the sound. #exemplifies (0.85) — Eric J. Heller, Why You Hear What You Hear- An…, 759
• Loading a source with a chamber is central to all musical instruments #expands (0.75) — Eric J. Heller, Why You Hear What You Hear- An…, 536
• Body size relative to open-string pitch shapes each string instrument’s distinctive timbre. #qualifies (0.75)
• Measured instrument spectra reveal both the source and the sound modifiers at once #qualifies (0.70)
• A stringed instrument’s pluck position can be read from harmonic amplitude dips. #exemplifies (0.70)