Experiments have sought to determine the spectral changes that can be reliably measured when various bowing techniques are used, by the same performer or by different performers. The trained musician can generally identify the technique (legato, staccato, “col legno,” upbow or downbow, ponticello, etc.) through the distinctive timbres. This study has been limited to the violin, and the complexities of the electronic analysis, as well as the partially meaningful results will be presented. The difficulties include the room reverberation characteristics, the directional radiation of sound from the instrument, and the variance of the individual repeat of a given note, even without the inter‐performer variance. We carefullyavoidinclusion of psycho‐acoustic consideration.