Subtractive analogue synthesis cannot realistically replicate an acoustic guitar

Reid shows that a truly convincing acoustic-guitar patch is well-nigh impossible on analogue subtractive equipment. The guitar’s sound comes from plucked strings interacting with a resonant body whose response varies with playing position and construction, plus sympathetic resonances and a complex inharmonic attack — a continuously changing string-body interaction that static oscillators and time-varying filters cannot model. He builds the theoretical patch to prove the point, then finds it impractical on real gear; the simpler resonance profile of an electric guitar is more tractable but still hard.

Examples

The theoretical six-oscillator guitar patch that proves impractical; physical-modelling approaches (e.g. Karplus-Strong) suit plucked strings far better.

Assessment

Explain why subtractive synthesis fails to convincingly emulate an acoustic guitar, and name a synthesis approach better suited to plucked strings.