zavk wrote:Thanks for the very helpful pointers, pt1. I understand that the notion of 'indivisible units' can be misleading, but this is precisely what I'm trying to track. I've come across people using this term to describe the kalapas. I'm trying to get a sense of how this translation evolved. Will look into your suggestions.
Ah so you are after the translation itself, sorry I misunderstood you there. Afaik, Nanamoli uses “group” to translate “kalapa” in his Visuddhimagga translation (e.g. see the index page 868). Likewise Bhikkhu Bodhi in his translation of Abhidhamattha sangaha - so a “material group” for a “ruupakalaapa” (ch.VI, par 16). Similarly for a basic octad kalapa he says “The inseparable metarial phenomena constitute the pure octad” (ch VI, par 18). So, it’s remotely possible that your “indivisible unit” is basically an alternate translation for the eight “inseparable rupas” (avinibbhoga ruupa) which constitute the pure octad kalapa, since all other types of kalapas are in essence just a pure octad with an additional few rupa(s). Narada’s
translation of AS uses similar terms – “material group” for kalapa, and “inseparable material qualities” for avinibbhoga ruupas (page 348).
So, I have no idea where “indivisible units” came from. It’s possible it appeared around a certain teacher or lineage, since pretty much every lineage tends to develop its own vocabulary over time with specific meanings which are not readily apparent to outsiders - e.g. I don't know their reasoning behind the term so I start assuming that an indivisible unit is some sort of an self-existing little entity out there somewhere and all that business, which of course might not be what they had in mind at all. I guess the way to track down the origin of the term would be to see who is the root teacher in the particual lineage where you found the term and then look into who was the original translator. Probably he started using the term in some specific context and then (if you’re lucky) everyone else afterwards just maintained the same usage.
zavk wrote:Yes, that's my 1994 MIJ Jaguar. I'm absolutely in love with it; attachment runs deep.

Excellent. Mine is in sunburst. For the longest time I’ve been playing with all sorts of effects, but lately I find it best to just drive it clean straight to the amp. It has a great sound on its own and this way opens up that whole dimension of dynamics which is usually the first casualty when you start processing the signal with effects, etc. If you’re not a fan of twangy sound, it helps to get a heavy gauge strings (and raise the bridge accordingly), I’m particularly fond of flatwounds. Of course, a good tube amp and a larger space tend to help as well

Best wishes