Albert: Maybe Corona will take you up on the audition offer, but I already stated previously that I am not interested, as a rule, in checking out products which IMO are marketed using specious claims. And oh, yeah, my system's alright I guess, but I don't know that even one at the exalted level of your own is up to testing whatever it is that S23chang is talking about (and I play the guitar... ;^)
Actually Chang, if you want to extend String Theory to guitar playing, there's an example of what we might call "Cord Theory": Albert Collins, the great, late Texas blues stringslinger, always got a distinctly unique guitar tone that no one else gets. I've read many items speculating as to why this was so, ranging from his idiosyncratic unconventional-open-tuning-plus-capo instrument set-up, to his Telecaster-fitted-with-Gibson-humbuckers axe, to his pick-less thumb-and-forefinger pluck-slap right-hand technique, and all of this undoubtedly does have something to do with his personalized tone. But some time after I saw him in concert at DC's famed (but now-history) Cellar Door in about '82, I realized what his real secret was. He used a custom-made, 100ft. long cord so that he could perform his trademark walk-out-of-the-club-and-keep-right-on-playing-out-in-the-street showmanship routine, which he began doing way back in the day years before cordless radio instrument/amp-connection systems were available. But he kept on using that cord even after they were, and used it in the studio too. One day after seeing that show, I happened to be playing somewhere away from my usual rig and had to plug in using something like a 30ft. cord, the longest normally sold. Lo and behold, I heard a faint trace of Albert's trademark tonality coming through - it was presumably the cord's extra capacitance vs. the common 10ft. or 15ft. cords at work.
Anyway, as I understand it (meaning in no way technically), "String Theory" is a grand, entirely mathematical, theoretical physics construct designed to possibly provide a 'unifying' framework for connecting the four more-or-less-observable fundamental types of force at work in the universe, namely gravity, electromagnetism, weak nuclear force, and strong nuclear force. I think the math is supposed to work out to imply that matter-energy actually consists of infinitesimally tiny elemental units of existence described as being 'strings' which manifest as the various types of more-or-less-observable members of the 'particle zoo' through their different 'resonant' states, and which constitute the 'fabric' of space-time within 12 or so 'looped' dimensions. And this math, if correct, is supposed to apply in all instances and conditions right back to the moment of the Big Bang, unlike the equations of Newton, Maxwell, Einstein, Bohr, etc. Or something like that. The theory may never be confirmable through scientifically testable means. But regardless of whether or not these 'strings' actually exist, they (as of now) have nothing directly observable/dectectable to do with our everyday world of guitar strings, power chords, or power cords.
Actually Chang, if you want to extend String Theory to guitar playing, there's an example of what we might call "Cord Theory": Albert Collins, the great, late Texas blues stringslinger, always got a distinctly unique guitar tone that no one else gets. I've read many items speculating as to why this was so, ranging from his idiosyncratic unconventional-open-tuning-plus-capo instrument set-up, to his Telecaster-fitted-with-Gibson-humbuckers axe, to his pick-less thumb-and-forefinger pluck-slap right-hand technique, and all of this undoubtedly does have something to do with his personalized tone. But some time after I saw him in concert at DC's famed (but now-history) Cellar Door in about '82, I realized what his real secret was. He used a custom-made, 100ft. long cord so that he could perform his trademark walk-out-of-the-club-and-keep-right-on-playing-out-in-the-street showmanship routine, which he began doing way back in the day years before cordless radio instrument/amp-connection systems were available. But he kept on using that cord even after they were, and used it in the studio too. One day after seeing that show, I happened to be playing somewhere away from my usual rig and had to plug in using something like a 30ft. cord, the longest normally sold. Lo and behold, I heard a faint trace of Albert's trademark tonality coming through - it was presumably the cord's extra capacitance vs. the common 10ft. or 15ft. cords at work.
Anyway, as I understand it (meaning in no way technically), "String Theory" is a grand, entirely mathematical, theoretical physics construct designed to possibly provide a 'unifying' framework for connecting the four more-or-less-observable fundamental types of force at work in the universe, namely gravity, electromagnetism, weak nuclear force, and strong nuclear force. I think the math is supposed to work out to imply that matter-energy actually consists of infinitesimally tiny elemental units of existence described as being 'strings' which manifest as the various types of more-or-less-observable members of the 'particle zoo' through their different 'resonant' states, and which constitute the 'fabric' of space-time within 12 or so 'looped' dimensions. And this math, if correct, is supposed to apply in all instances and conditions right back to the moment of the Big Bang, unlike the equations of Newton, Maxwell, Einstein, Bohr, etc. Or something like that. The theory may never be confirmable through scientifically testable means. But regardless of whether or not these 'strings' actually exist, they (as of now) have nothing directly observable/dectectable to do with our everyday world of guitar strings, power chords, or power cords.
