No, I'm not a luthier, but I am a working dynamics engineer.
The problem with the source you listed is not the actual content but rather the application. That's referring to hollowbody, acoustic instruments like violins, cellos, double basses, etc, where the resonant frequency of the body is substantially different than that of a solid body. There is far less mass involved and the air between the wood layers has a very strong effect on it as well. Same goes for the wood- a thin piece of maple is going to have a much closer resonant frequency to sounding tones than a piece of brass or aluminum (where that number would be very, very high; same for solid bodies).
This is why you get really strong wolf tones in orchestral instruments (and brass, actually) and very very seldom in electric solid body instruments that tuned in equal temperament and that don't have sympathetic vibrating strings.
I'm going to put it down to the exposed/tapered core strings.
The problem with the source you listed is not the actual content but rather the application. That's referring to hollowbody, acoustic instruments like violins, cellos, double basses, etc, where the resonant frequency of the body is substantially different than that of a solid body. There is far less mass involved and the air between the wood layers has a very strong effect on it as well. Same goes for the wood- a thin piece of maple is going to have a much closer resonant frequency to sounding tones than a piece of brass or aluminum (where that number would be very, very high; same for solid bodies).
This is why you get really strong wolf tones in orchestral instruments (and brass, actually) and very very seldom in electric solid body instruments that tuned in equal temperament and that don't have sympathetic vibrating strings.
I'm going to put it down to the exposed/tapered core strings.