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From: Ross
Remote Name: 76.101.10.136
Date: 16 Jun 2007
Time: 17:08:27 -0400
Luthier’s Weblog 6/16/07 I’ve often marveled at the exquisite irony of the phrase “spending time”. We usually associate spending with currency, and the currency of the fourth physical dimension, duration, is time. Spending a piece of my lifetime to write down these thoughts should be a considered undertaking, as my resources are limited. Can I use this slice of time more “profitably”? What about “pastimes”? Such as TV or viewing sporting events. I need to devise a mental template to filter time assignment through. Fortunately, as one ages, the taste for manufactured hysteria declines. Speaking of marshaling ones resources, my luthier friend must construct his soundbox in such a way as to spend his pitiably small supply of right-hand generated string energy in the most frugal way. He wants none of the energy to be squandered vibrating the neck or headstock. He wants none to be dissipated through transfer to the ribs, or by extension, to the back. His entire supply should focus on getting the top to flap back and forth in such a way as to create sound waves of the same vibrational frequency as the strings that drive it. Figuring out how to effectively transfer his string energy to the top requires recognition of the nature of the energy generated. The string is at tension, anchored to the (hopefully) center of the radiating surface at the bridge. When the string is excited, the majority of the energy transferred is of a lateral nature, perpendicular to the instrument’s centerline. Not the overwhelming majority, but certainly on the order of greater than three quarters. Whether the string is plucked in a motion perpendicular to the plane of the top, or picked in a motion parallel to it, the string’s vibrational pattern will quickly become rotational. So some of the lateral energy imparted to the bridge focus (saddle) is directed vertically (perpendicular to the top) and some is directed horizontally ( parallel to the top). And most of it is directed in some combination of the two, in every direction. The direction of string excitation (vertical pluck, horizontal pick, or somewhere in between) will determine the sound of the initial attack. The builder must develop his understanding of the vocabulary of top response to distinguish, in his mind and ear, the difference between these two poles. Recognizing this difference, the builder can conceptualize strategies to maximize these differences. In a steel stringed guitar, the obvious examples would be the instrument designed for flat picking (more geared to horizontal string drive) as opposed to one made with finger picking (slightly more vertical drive involved). As the string’s vibrational pattern stabilizes to a circular movement, differences diminish. But the robot builder seeks to imagine how to build his top in order to accentuate a particular type of player attack, other than the over-generalized format of plantilla. Or even if he should cater his attack to one type of drive. More thought. More thought. Abstract conceptualizing is THE very hardest part of his job. And the most fun. Fifty-five minutes spent. To what end? More thought. Ross Teigen 8:56 am I’ve often marveled at the exquisite irony of the phrase “spending time”. We usually associate spending with currency, and the currency of the fourth physical dimension, duration, is time. Spending a piece of my lifetime to write down these thoughts should be a considered undertaking, as my resources are limited. Can I use this slice of time more “profitably”? What about “pastimes”? Such as TV or viewing sporting events. I need to devise a mental template to filter time assignment through. Fortunately, as one ages, the taste for manufactured hysteria declines. Speaking of marshaling ones resources, my luthier friend must construct his soundbox in such a way as to spend his pitiably small supply of right-hand generated string energy in the most frugal way. He wants none of the energy to be squandered vibrating the neck or headstock. He wants none to be dissipated through transfer to the ribs, or by extension, to the back. His entire supply should focus on getting the top to flap back and forth in such a way as to create sound waves of the same vibrational frequency as the strings that drive it. Figuring out how to effectively transfer his string energy to the top requires recognition of the nature of the energy generated. The string is at tension, anchored to the (hopefully) center of the radiating surface at the bridge. When the string is excited, the majority of the energy transferred is of a lateral nature, perpendicular to the instrument’s centerline. Not the overwhelming majority, but certainly on the order of greater than three quarters. Whether the string is plucked in a motion perpendicular to the plane of the top, or picked in a motion parallel to it, the string’s vibrational pattern will quickly become rotational. So some of the lateral energy imparted to the bridge focus (saddle) is directed vertically (perpendicular to the top) and some is directed horizontally ( parallel to the top). And most of it is directed in some combination of the two, in every direction. The direction of string excitation (vertical pluck, horizontal pick, or somewhere in between) will determine the sound of the initial attack. The builder must develop his understanding of the vocabulary of top response to distinguish, in his mind and ear, the difference between these two poles. Recognizing this difference, the builder can conceptualize strategies to maximize these differences. In a steel stringed guitar, the obvious examples would be the instrument designed for flat picking (more geared to horizontal string drive) as opposed to one made with finger picking (slightly more vertical drive involved). As the string’s vibrational pattern stabilizes to a circular movement, differences diminish. But the robot builder seeks to imagine how to build his top in order to accentuate a particular type of player attack, other than the over-generalized format of plantilla. Or even if he should cater his attack to one type of drive. More thought. More thought. Abstract conceptualizing is THE very hardest part of his job. And the most fun. Fifty-five minutes spent. To what end? More thought. Ross Teigen 8:56 amLuthier’s Weblog 6/16/07 I’ve often marveled at the exquisite irony of the phrase “spending time”. We usually associate spending with currency, and the currency of the fourth physical dimension, duration, is time. Spending a piece of my lifetime to write down these thoughts should be a considered undertaking, as my resources are limited. Can I use this slice of time more “profitably”? What about “pastimes”? Such as TV or viewing sporting events. I need to devise a mental template to filter time assignment through. Fortunately, as one ages, the taste for manufactured hysteria declines. Speaking of marshaling ones resources, my luthier friend must construct his soundbox in such a way as to spend his pitiably small supply of right-hand generated string energy in the most frugal way. He wants none of the energy to be squandered vibrating the neck or headstock. He wants none to be dissipated through transfer to the ribs, or by extension, to the back. His entire supply should focus on getting the top to flap back and forth in such a way as to create sound waves of the same vibrational frequency as the strings that drive it. Figuring out how to effectively transfer his string energy to the top requires recognition of the nature of the energy generated. The string is at tension, anchored to the (hopefully) center of the radiating surface at the bridge. When the string is excited, the majority of the energy transferred is of a lateral nature, perpendicular to the instrument’s centerline. Not the overwhelming majority, but certainly on the order of greater than three quarters. Whether the string is plucked in a motion perpendicular to the plane of the top, or picked in a motion parallel to it, the string’s vibrational pattern will quickly become rotational. So some of the lateral energy imparted to the bridge focus (saddle) is directed vertically (perpendicular to the top) and some is directed horizontally ( parallel to the top). And most of it is directed in some combination of the two, in every direction. The direction of string excitation (vertical pluck, horizontal pick, or somewhere in between) will determine the sound of the initial attack. The builder must develop his understanding of the vocabulary of top response to distinguish, in his mind and ear, the difference between these two poles. Recognizing this difference, the builder can conceptualize strategies to maximize these differences. In a steel stringed guitar, the obvious examples would be the instrument designed for flat picking (more geared to horizontal string drive) as opposed to one made with finger picking (slightly more vertical drive involved). As the string’s vibrational pattern stabilizes to a circular movement, differences diminish. But the robot builder seeks to imagine how to build his top in order to accentuate a particular type of player attack, other than the over-generalized format of plantilla. Or even if he should cater his attack to one type of drive. More thought. More thought. Abstract conceptualizing is THE very hardest part of his job. And the most fun. Fifty-five minutes spent. To what end? More thought. Ross Teigen 8:56 am Luthier’s Weblog 6/16/07 I’ve often marveled at the exquisite irony of the phrase “spending time”. We usually associate spending with currency, and the currency of the fourth physical dimension, duration, is time. Spending a piece of my lifetime to write down these thoughts should be a considered undertaking, as my resources are limited. Can I use this slice of time more “profitably”? What about “pastimes”? Such as TV or viewing sporting events. I need to devise a mental template to filter time assignment through. Fortunately, as one ages, the taste for manufactured hysteria declines. Speaking of marshaling ones resources, my luthier friend must construct his soundbox in such a way as to spend his pitiably small supply of right-hand generated string energy in the most frugal way. He wants none of the energy to be squandered vibrating the neck or headstock. He wants none to be dissipated through transfer to the ribs, or by extension, to the back. His entire supply should focus on getting the top to flap back and forth in such a way as to create sound waves of the same vibrational frequency as the strings that drive it. Figuring out how to effectively transfer his string energy to the top requires recognition of the nature of the energy generated. The string is at tension, anchored to the (hopefully) center of the radiating surface at the bridge. When the string is excited, the majority of the energy transferred is of a lateral nature, perpendicular to the instrument’s centerline. Not the overwhelming majority, but certainly on the order of greater than three quarters. Whether the string is plucked in a motion perpendicular to the plane of the top, or picked in a motion parallel to it, the string’s vibrational pattern will quickly become rotational. So some of the lateral energy imparted to the bridge focus (saddle) is directed vertically (perpendicular to the top) and some is directed horizontally ( parallel to the top). And most of it is directed in some combination of the two, in every direction. The direction of string excitation (vertical pluck, horizontal pick, or somewhere in between) will determine the sound of the initial attack. The builder must develop his understanding of the vocabulary of top response to distinguish, in his mind and ear, the difference between these two poles. Recognizing this difference, the builder can conceptualize strategies to maximize these differences. In a steel stringed guitar, the obvious examples would be the instrument designed for flat picking (more geared to horizontal string drive) as opposed to one made with finger picking (slightly more vertical drive involved). As the string’s vibrational pattern stabilizes to a circular movement, differences diminish. But the robot builder seeks to imagine how to build his top in order to accentuate a particular type of player attack, other than the over-generalized format of plantilla. Or even if he should cater his attack to one type of drive. More thought. More thought. Abstract conceptualizing is THE very hardest part of his job. And the most fun. Fifty-five minutes spent. To what end? More thought. Ross Teigen 8:56 am Luthier’s Weblog 6/16/07 I’ve often marveled at the exquisite irony of the phrase “spending time”. We usually associate spending with currency, and the currency of the fourth physical dimension, duration, is time. Spending a piece of my lifetime to write down these thoughts should be a considered undertaking, as my resources are limited. Can I use this slice of time more “profitably”? What about “pastimes”? Such as TV or viewing sporting events. I need to devise a mental template to filter time assignment through. Fortunately, as one ages, the taste for manufactured hysteria declines. Speaking of marshaling ones resources, my luthier friend must construct his soundbox in such a way as to spend his pitiably small supply of right-hand generated string energy in the most frugal way. He wants none of the energy to be squandered vibrating the neck or headstock. He wants none to be dissipated through transfer to the ribs, or by extension, to the back. His entire supply should focus on getting the top to flap back and forth in such a way as to create sound waves of the same vibrational frequency as the strings that drive it. Figuring out how to effectively transfer his string energy to the top requires recognition of the nature of the energy generated. The string is at tension, anchored to the (hopefully) center of the radiating surface at the bridge. When the string is excited, the majority of the energy transferred is of a lateral nature, perpendicular to the instrument’s centerline. Not the overwhelming majority, but certainly on the order of greater than three quarters. Whether the string is plucked in a motion perpendicular to the plane of the top, or picked in a motion parallel to it, the string’s vibrational pattern will quickly become rotational. So some of the lateral energy imparted to the bridge focus (saddle) is directed vertically (perpendicular to the top) and some is directed horizontally ( parallel to the top). And most of it is directed in some combination of the two, in every direction. The direction of string excitation (vertical pluck, horizontal pick, or somewhere in between) will determine the sound of the initial attack. The builder must develop his understanding of the vocabulary of top response to distinguish, in his mind and ear, the difference between these two poles. Recognizing this difference, the builder can conceptualize strategies to maximize these differences. In a steel stringed guitar, the obvious examples would be the instrument designed for flat picking (more geared to horizontal string drive) as opposed to one made with finger picking (slightly more vertical drive involved). As the string’s vibrational pattern stabilizes to a circular movement, differences diminish. But the robot builder seeks to imagine how to build his top in order to accentuate a particular type of player attack, other than the over-generalized format of plantilla. Or even if he should cater his attack to one type of drive. More thought. More thought. Abstract conceptualizing is THE very hardest part of his job. And the most fun. Fifty-five minutes spent. To what end? More thought. Ross Teigen 8:56 am