I am fascinated by the patterns of the Chladni modes on the top. I have to confess that I don't know very much about the thought behind the whole process. Does Mark also test the Chladni modes of the back of the guitar? I seem to remember reading somewhere that one of the ideas behind this particular method was to have the top and back exhibit the same patterns so that they were sonically working together -- but it may have been an article about violins rather than guitars.
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