His research results have been disappointing for a long time, and gradually, he has more and more targets and fewer and fewer misses. Erbo picked up another Chinese qin that he had processed and admitted that it sounded better than the one he had made himself from scratch a few years ago. Whenever there is a new insight, Meneck always excitedly calls Erbo, Nancy Bloom, or one of the other fans. It has become a constant joke, many times, and he said he finally figured it out. Whenever he makes a breakthrough, a new problem arises in front of him again. By 2010, the problems he had been working hard on had become so abstract that he could no longer solve them on the workbench. He needed long periods of walking and a space for his soul to wander.

How could he describe the moment of ultimate discovery? He realized that each string was independently interacting with the qin, and the vector of force was changing at every phase of the string's motion. If you pull the G string in one direction and produce a tone, "he tried to explain," and then switch to another direction and produce a difference of several cycles (Hertz), you have disharmony. Because the nature of this interactive motion is neither completely elastic nor completely inelastic, it is almost impossible to write an equation to describe it

It is impossible to write an equation to describe it. He followed the path of science to the finish line, only to find himself standing at a crossroads and encountering something else. He doesn't have a precise language. But he suddenly understood the heart of the problem. He is dealing with momentum: mass x velocity. To create beautiful sound, he needs to create a balanced momentum reaction. When the quality of the wood is properly balanced with each chord, the wood chords can vibrate freely without damping. This understanding is an inspiration.

He focused on changing the thickness of the precise positions on the curved board of the qin, with only millimeter intervals between the strings on the right side relative to the left side, and the strings on the left side relative to the right side, balancing the motion of the corresponding strings. When I realized that the shape and thickness of the violin backboard were determined by the conservative momentum of each string, and therefore required delicate adjustments, "he said," I realized that I had both an explanation and a method. "This is science. He can test this inspiration.