Monthly Archives: August 2014

Work and love, made visible

There’s a common phrase in a bunch of the artist communities I frequent: “Work is love made visible”. It probably derives from Kahlil Gibran’s poem, “On Work”, which is part of The Prophet:

Work is love made visible.
And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy.
For if you bake bread with indifference, you bake a bitter bread that feeds but half man’s hunger.
And if you grudge the crushing of the grapes, your grudge distils a poison in the wine.
And if you sing though as angels, and love not the singing, you muffle man’s ears to the voices of the day and the voices of the night.
  — Kahlil Gibran, “On Work”, used without permission

People often use it to remind us that the work we choose is important, no matter what it is. I’ve often heard people refer to it in contexts where phrases like “speak your truth” and “dance like nobody’s watching” and “be your best self” come up. It seems as though the underpinnings of Gibran’s point touch on the fact that the way we work can be as important as what we do.

Religions address this question, too: sometimes the language there talks about whether it is most important that adherents undertake “right action” or that they live with “right intent”. Maybe it’s that having God in your heart is the key; maybe it’s that by their fruits and by their works shall ye know them. In any case, people have been talking about the idea that your mindset and your approach matters for a pretty long time.

I was out for a walk today in south Burlington, VT, where I’m taking a couple of days off from work to visit my partner, Jasmine. I had hoped that we’d have time to go for a walk today, because I checked her schedule before making a surprise visit—but it turns out that she’d made some work commitments that I hadn’t seen when I checked her calendar, and this afternoon’s walk wasn’t going to happen. Frustrating? Sure. I made a plan and put a bunch of effort into it, and it didn’t go the way I intended.

But while I was out walking alone, I came across the Gibran quotation stenciled onto the back of a building, and it got me thinking.

Work is love made visible

 

I think Gibran got it right, but that there’s something else of value to consider here. Switch those words around.

Love is work made visible.

We get a lot of messages about romantic, overpowering, all-consuming love in our society. From The Little Mermaid to Love Actually to Rocky to the latest heartwarming kids’ movie to the latest rom-com to your favorite novel, we get a pretty steady diet of the idea that love, true love, is easy. Allegedly, when you meet the right person, it all just works. I just started watching Hart of Dixie (a cute show about a NYC physician transplanted into the deep South), and this assertion shows up there, too: “You’re right… with the right person, everything just flows.”

It’s even true, sometimes. There are moments in a loving relationship, whether romantic, filial, parental, or whatever, where everything is just easy, everything flows, the words tumble out, and smiles abound.

But more often than not, love takes work.

Sure, it’s not always work, and the work looks different for each person. But in thinking about it, every kind of loving relationship I know of requires work. Parents spend untold bazillions of hours working hard to care for their children, raising and feeding and sheltering and teaching them. We name the formal beginning of that process “labor”. Romantic relationships—if they last long enough—always make it through the honeymoon phase into the territory where people’s differences start showing up, and the relationships that last do so largely because people put enough effort into reconciling those issues so the underlying love can flourish. Even children work at loving: watch the way kids try hard to live up to their parents’ expectations, or the way two sisters find a way to make up and resolve their problems after a tearful spat.

I think there’s still a place for unconditional love, but it’s my experience of living and watching other people that unconditional love doesn’t stretch as far as people think. Pretty soon, differences start showing up and people start working to accommodate them.  We’re taught to believe that you can judge the quality of love by how little people have to work to sustain it: by how easy it is.

We might all be happier if we took the measure of love by asking how much work people were willing to do to sustain it.

Gibran also writes “if you grudge the crushing of the grapes, your grudge distils a poison in the wine“, and he’s right.  So I’d like to see us shifting our cultural narrative away from the fairytale romance where everything is easy once you meet the right person toward the idea that it’ll take work to love people—and that we should encourage them to find ways to work more joyfully in that vineyard. Love is work. And that’s a good thing.

Mandolin Picks Comparison

When I did my post on making mandolin bridges, I wanted to make sound files available so readers could form their own opinions. Here’s the same thing for mandolin picks!

Mandolin players seem to love talking about picks. Which ones sound the best, which play fastest, how long they last, whether they’re worth the cost, which are hardest to drop, etc. Pick any vector of analysis and you’ll find people whose preferences span the whole thing.

It’s challenging to compare picks, though, because there are so many variables. Pick size, pick material, pick thickness, type of mandolin, type of strings, size of strings, microphone placement, bridge type, bridge and nut material, etc., and that’s just before we get to player-specific variables like how hard a player picks, what angle they use to approach the strings, how deeply they insert the pick, where along the strings they play, what style of music, etc. Compound those issues by using words (rather than sound samples) to describe the picks and it’s no wonder that picks are hard to talk about.

When I started learning to play guitar, someone gave me the advice to stop into every music store I passed and try to purchase one new kind of pick that I hadn’t used before. Picks are cheap, and this is a fun experiment to run over time. I’ve found some favorite picks this way–the Dunlop Primetone from Guitar Sam in Montpelier, VT; the funky tortoiseshell (that I think is made by Saga Music) from Dick’s Country Store Gun City & Music Oasis in Churubusco, NY; the Golden Gate picks from Dave Nichols of Custom Pearl Inlay in Whippleville, NY.

Experimental design

I want to present the picks without a lot of verbal analysis so that readers can form their own opinions. I’m going to reduce variables as much as possible:

Mandolin with microphone attached
Mic setup (click to enlarge)
  • Instrument: Eastman MD-504 oval hole A-style mandolin with homemade maple 11-hole bridge with a ToneGard on the back
  • Tune: Equinox, a jig that I wrote and regularly perform with Frost and Fire
  • Microphone: K&K Silver Bullet cardioid electret condenser mic with phantom power
  • Mic placement: gooseneck clipped to ToneGard and pointed at body just down from 14th fret and 1″ away from it
  • Audio interface: Shure X2U XLR-to-USB converter
  • DAW: Reaper 4.71 in 64-bit mode running on an Apple MacBook Pro with Retina (October 2013 model)
  • Strings: D’Addario J74 (have been on the instrument about six weeks)
  • Post-processing: All tracks saved as MP3 and normalized to 89 reference dB with MP3Gain Express 1.1.1. No other processing or effects.

This setup duplicates my normal on-stage setup except for the audio interface and DAW. Because the mic is mounted on the instrument, it should insulate against subtle changes due to position alteration. There was a lot of road traffic in front of my house today, so you’ll hear some cars going by in some samples—I guess you can think of that as a faithful test of normal playing conditions!

Each pick is labeled with an identification letter (A through BB); I also randomly assigned each pick a serial number to identify its sound samples and play order. There’s a link to the   “answer key” at the bottom of the page.

The Picks

photos of mandolin picks
Mandolin picks (click to enlarge)
  • A: Dunlop Primetone Sculpted 3 mm
  • B: Dunlop Nylon 1 mm
  • C: Dunlop Ultex 1.14 mm
  • D: Dunlop Ultex Jazz III 1.3 mm
  • E: Dunlop 204 2.0 mm
  • F: Dunlop Stubby Triangle 3.0 mm
  • G: Dunlop Jazz III XL 1.3 mm
  • H: Dunlop 1.5 mm
  • I: Wedgie 1.0 mm
  • J: Pickboy Nylon 1.00 mm
  • K: Pickboy 1.50 mm
  • L: Pickboy Edge Carbon Nylon 1.00 mm
  • M: Pickboy Classic Rainbow 1.00 mm
  • N: Pickboy Classic Luminous 1.00 mm
  • O: Golden Gate mandolin 1.4 mm
  • P: Gibson USA X-H 1.1 mm
  • Q: Unknown (Saga?) “tortoiseshell” 1.4 mm
  • R: Unknown (Saga?) “tortoiseshell” 1.3 mm
  • S: Cool Heavy translucent yellow 1.0 mm
  • T: Cool Heavy black 1.0 mm
  • U: Cool Heavy white 1.0 mm
  • V: Martin H 0.6 mm
  • W: Wheatware H 1.5 mm
  • X: Wheatware 2.0 mm
  • Y: Stylus Pick
  • Z: Fender Heavy 0.9 mm
  • AA: Dunlop Jazz III black 1.3 mm
  • BB: Dunlop Tortex 0.88 mm

These are the picks I had when I did the test. If you’ve got a pick you’d love to hear added to the test, or if you find this comparison helpful and want to send thanks, send me some new picks to play with! If you find this really helpful, send me a Blue Chip or Wegen pick. 🙂 If you want to send me something, leave a message in the comments or ping me on Twitter and I’ll get in touch with my address. Thanks!

Sound samples

Normalized (all samples set to 89 dB with MP3Gain Express)

 

Discussion

Before you click to see the answer key, consider a few questions about the picks you’ve just heard.

  • Do you notice similarities between picks of the same shape?
  • Do you notice them between picks of the same size?
  • What about between picks of the same material?
  • What about between picks of the same brand?
  • What about between picks of the same color?
  • If you notice similarities, how would you describe them? If you notice differences, what words would you choose to explain what you’re hearing?
  • How much would it surprise you to learn that I had recorded this tune 28 times in a row with the same pick? Would you believe me? What factors would make you believe or disbelieve that? Do you hear enough difference in the recordings to believe that something changed?

I actually did record it with 28 different picks, but I think that’s a key question: would you believe me if I told you they were all the same? If so, we can say that pick selection doesn’t matter tonally. If you hear differences, great! See which ones you prefer.

If you’re willing, write up your thoughts and post them as a comment before you click to see the answer key.

Raw sound files (not normalized)

Remember to leave your thoughts as a comment before you click to see the answers. Please also check out my article on making mandolin bridges at home!