Conception of The Gravity Powered Guitar

Technology and the ease of data collection have made the world a completely different place than it was two centuries ago when guitar design was conceived. Digital demands for a guitar-like experience have grown and the demand for electrified guitars has escalated significantly. An acoustic guitar player commands different criteria from the design of the guitar and has a more organic connection with the original energy. Digital components rarely belong in acoustic instruments. So the digital age has had very little influence on the design-ability of the acoustic guitar aside from after-market pick-ups.

One of the greatest achievements of mankind was the Theory of Relativity. This in turn created the fundamental form of all our technology today. Momentum from Einstein’s conception of this theory was given by the assumption of how we presume our reality.

For example:

From my home at this point in time (10:14 pm) it is a straight walk from my place to the school while from the school at (10:17 pm) it may be a small uphill climb home.

The distance in this respect hasn’t changed, nor the steps involved in achieving the displacement, but there has been a transformation somewhere along the line.

The guitar undergoes a similar transformation. The objective is to have a stiff, flat, responsive top from conception, but in reality we know it will curve under the tension and eventually collapse in a given amount of time. To strengthen and encourage the flatness we brace the top of the guitar, tune accordingly and suggest regular maintenance.

First of all, energy waves are not straight and bodies of the guitars currently reflect this. Then why are straight lines and X’s used so much in bracing the guitar? These lines are intrinsically acting as fences for our pleasing acoustic sound’s mobility around the box and through the top. In addition the sound falls under the influence or pull of gravity. If you can picture tiny balls of tone falling across the sound board while the guitar is in playing position you can visualize the straight sharp lines of the bracing bouncing or displacing our ball off the soundboard and into the lower bouts. During this process their is audible energy lost inside the guitar. This resistance to the natural flow of the energy has to reduce the overall potential and functionality of the instrument.

  • Is it possible to scoop these little balls of sound as they fall and guide them to a desired position or node where their energy can be efficiently transferred with as little momentum lost as possible?
  • Can we in turn gain momentum by using gravity as an acoustic amplifier?
  •  Could we fine tune the nodes or intersections to identify and strengthen the fundamental of the sound wave?

Einsteins genius came as he better tried to understand the physical world around him and it’s relative perspective in space-time. What this meant upon conception was understanding orthogonal (right angle) transformations of geometry in order to understand the physical world and its behaviour. Which lead the wheels of genius to the theory of relativity after many years of research.

How can we postulate the validity of a straight line when we are standing on a spinning sphere whirling at 1,000 miles per hour around the sun?

In a small given area with the right tools we can define a line as straight and assume it has all the qualities a straight line should have. We can build bridges, furniture as well as almost every object in your home using simple rules of trigonometry founded on Euclid’s postulates. In order to move forward in understanding our “gravity guitar” we need to go back in time and understand the assumptions we make with every line we draw. These axioms called Euclid’s postulates are assumptions that we must make in order for a straight line reality to be valid.

The fifth postulate asserts the existence of a  square and parallel lines.

  1. There is a unique straight line segment connecting any two points.
  2. A straight line is unlimited and continuos
  3. A circle exists with a given centre with a given value for it’s radius
  4. All right angles are equal
  5.  For any straight line and for any possible point not on the line, there is a unique straight line through the point which is parallel to the line.

Looking above at M.C. Escher’s “Circle Limit” you can see a very accurate representation of a kind of geometry in which the fifth postulate is false, the Pythagorean theorem fails to hold and the angles of a triangle do not add up to ????. More importantly, for a shape of any given size, there does not exist a similar shape in a larger size. Escher shows us an accurate representation of hyperbolic geometry in which the entire “universe” of the hyperbolic plane is squashed into the interior of a Euclidean circle. The bounding circle represents infinity in this universe. We can see that the fish seem to get very crowded as they get close to this bounding circle, but we must see this as an illusion. Imagine if you just happened to be one of the fish. No matter if you are on the rim or centre of the circle, the entire universe will look the same to you. Neither the bounding circle or any of it’s Euclidean space that surrounds it has any existence to us as the fish. Their entire hyperbolic universe consists of what to us seems to lie strictly within the circle.

Straight lines in our hyperbolic world are to be represented as segments of Euclidean circles which meet our bounding circle at right angles or orthogonally. All though we can easily visualize this in an Euclidean plane, pictured above, hyperbolic geometry is best used to describe objects with constant negative curvature.

The soundboard is under constant negative curvature and this geometry and rules implied through it’s use have direct implications on the operation as well as lifetime of our soundboard. With hyperbolic geometry we can supply the same surface tension on our soundboard with less mass to vibrate or move, thus we have deduced a hyper responsive soundboard without altering the look or physical feel of the guitar. If we can harness the power flow of gravity more efficiently and account for it in the design of the guitar then we will have guitar that will be louder on earth than in space.

At this point I feel I have revealed too much information making these ideas and their implied use readily available for anyone to enjoy. So I must assert that these are not someone else’s ideas but my own and their intended design on the guitar has already been copyrighted by myself. If these ideas are stolen or used by someone else without the given permission of the copyrighter, myself, then there will be serious consequences. In this industry luthiers as well as large companies constantly steal ideas and claim them as their own. I will be holding all of my luthiers responsible for the design elements of their guitars in my new Honesty section of every ad and in turn I’m hoping luthiers elsewhere will pay credit where it is do.

The gravity guitar or hyper responsive guitar will become a reality thanks to the continued support of Symphontree Music’s dedicated customers. Together we are going to change the future of guitars and evolve tone so that we can make the best acoustic music possible. A new standard for generations to learn from.

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