Excellent! I am looking forward to it. Please, let us know when they are ready. Good luck :)
Jaroslaw > On 02 Feb 2017, at 13:03, Mimmo Peruffo <mperu...@aquilacorde.com> wrote: > > Well, seeing this post I have the idea to switch to these stiffer ones. at > the end of the day they are closer to those loaded strings made of gut. > I will do some samples in advance. > Mimmo > > ps: long diapason: I have not in aim to do them for very long diapasons such > as chitarrrone. The diapasons are so long for plain gut, not for denser > strings. I have in aim to cover the Archlutes Sellas models, whose > string-dipasons has the octaves paired. Octaves are always a good indicator > that it is time to have a denser material than gut or similars > > -----Messaggio originale----- From: Jarosław Lipski > Sent: Thursday, February 02, 2017 11:08 AM > To: baroque-lute@cs.dartmouth.edu > Subject: [BAROQUE-LUTE] Re: Baroque Lute Stringing > > No problem at all, they could be darker (even better!). Anyway it’s quite a > good idea IMHO. If some like overwounds they can always use just…ocerwounds;) > I really can’t see any point in imitating overwounds. > Please let us know if you make a new stiffer batch. > > JL > > >> On 02 Feb 2017, at 10:53, Mimmo Peruffo <mperu...@aquilacorde.com> wrote: >> >> Well, Tony Bailes mailed me that: >> >> Writing in 1629 Francis Bacon stresses that low strings should produce a >> bass sound: “for we see, that in one of the lower strings of a lute, there >> soundeth not the sound of the treble, nor any mixt sound , but onely the >> sound of the base.” >> >> Mimmo >> >> ps: I can made them less stretchly using a different elastomer. the problem >> is that they became a bit darker in the sound. Any suggestion? I am ready to >> start with the big batch. I am a bit worry about those that like that they >> are in some way still close to the wound strings >> >> >> -----Messaggio originale----- From: Martin Shepherd >> Sent: Thursday, February 02, 2017 10:26 AM >> To: Mimmo ; Matthew Daillie >> Cc: baroque-lute@cs.dartmouth.edu >> Subject: [BAROQUE-LUTE] Re: Baroque Lute Stringing >> >> Dear All, >> >> If we're really interested in how lutes might have been strung >> historically, I think it's important to take the historical evidence >> (very little of it, I know) as a starting point, rather than the habits >> of modern players using modern strings. >> >> We have a lot of iconographic evidence (plus the evidence from measuring >> bridge holes) that bass strings were rather thin - so the conclusion >> that they were more dense than a plain gut string seems pretty well >> inescapable. >> >> Having said that, the tensions which modern players expect may be too >> high, for several reasons. One is that we are accustomed to wound >> strings, which are very flexible and don't work at all well if they are >> at too low a tension. A related problem is that modern players tend to >> play much further from the bridge than their historical counterparts. >> >> Another issue is that we have tended to assume roughly equal tension >> across all the strings, so we have not experimented much with a tapering >> of tension as we go down into the bass. One interesting aspect of the >> iconography is that strings get progressively thicker as they go down >> into the bass, but not as much as one would expect if the tensions were >> equal. To make this concrete, for a descent of an octave (maintaining >> equal tension) the string should double in diameter, so the 6th course >> on a 6c lute should be nearly twice the diameter of the 4th. >> >> On the subject of string diameters, Mimmo estimates the thinnest string >> which could have been made in the past as .42-.44mm. Single top strings >> will need to be a higher tension than the individual strings of a >> course, but even so it is more or less inevitable that the tension must >> be tapered to some degree, otherwise bass strings (and tension) would be >> enormous. Mimmo has recently written that equal tension is different >> from equal "feel", and I agree with his suggestion that (in order to >> maintain equal feel) thinner strings should therefore be at a higher >> tension than thicker ones. I have done this as a matter of instinct for >> many years - using a higher tension on the second course than on the >> third, for example. As an aside, I note that most of us have tended to >> use octaves at a lower tension than the fundamentals, but the string >> table in the Gaultier book (discovered by Andreas Schlegel), and my more >> recent experiments, suggest perhaps a more equal tension. >> >> As far as the characteristics of the strings is concerned, there are >> some apparent contradictions in the historical evidence. Many paintings >> give the impression that the strings were very floppy (compared to >> modern gut strings), with lengths of spare string dangling from the >> pegbox. On the other hand, one of the tests for a good string >> recommended by Dowland is "stiffness to the finger" (assessed before >> putting the string on the lute by pressing the end of the string to see >> how bendy it is). In terms of elasticity, Mace talks about a string >> stretching "an inch or two" in the winding up - suggesting a string much >> more elastic than almost any modern string. >> >> Then we come to another apparent contradiction on the area of modern >> experiments. I have found the Savarez KF strings (made from PVDF, much >> more dense then gut, so perhaps more like a "loaded" gut string as far >> as density is concerned) work very well, in spite of being very stiff >> and not very elastic. They also work well at lower tensions than other >> types of string. They are usually pretty true, and that helps. The >> implication seems to be that a string which is sufficiently dense (and >> can therefore be thin) doesn't need to be very elastic in order to >> work. I don't know how to reconcile this with the historical evidence, >> but it occurs to me that there is a difference between elasticity >> (stretchiness) and "sideways flexibility" or "floppy flexibility" (which >> it seems the old strings may have had). Think of the difference between >> an rubber band and a piece of household string - the cotton string is >> very floppy but has very little elasticity. All things considered I >> would definitely be interested to see Mimmo make a string with lower >> elasticity. Trueness is paramount - if a string is even slightly false >> the irregular pattern of vibration will make it rattle against the frets >> and it will never sound well even as an open string. >> >> Just a few thoughts for you to chew on.... >> >> Martin >> >> On 02/02/2017 07:20, Mimmo wrote: >>> Well, I can add a few informations >>> There are no production problems it shelf. I had an extruder broken so I >>> was obliged to wait the time to fix it. After that I finished the raw >>> material. I received it a week ago. >>> They has more amplitude in the vibration whose problem is mostly because >>> one should compensate the lack of tension when the strings are under >>> tension. In practice they became thinner that any wound strings. In short, >>> if the equivalent gut by calculation is 145 I raccomand to install a 150 >>> instead. So under tension the final gauge will be the suitable one. >>> Yes, there is no problem to switch to a more stiffer plastic blend. The >>> problem is that we lost a bit of brightness. Is it a good idea ? I do not >>> know, people has the wound strings sound in comparation. >>> Take care >>> Mimmo Peruffo >>> >>>> Il giorno 01 feb 2017, alle ore 23:34, Matthew Daillie >>>> <dail...@club-internet.fr> ha scritto: >>>> >>>> Of the main copper-wound strings available, the fullest sounding and >>>> brightest are the Kürschner followed by the Savarez, then the Aquila Ds >>>> and lastly the Aquila DEs, which are pretty dull (and are no longer being >>>> made although several retailers still have quite large stocks available). >>>> >>>> As far as I am concerned the jury is still out on the Aquila loaded >>>> nylgut. Many of us have high hopes but there are production problems >>>> (there has only been one batch so far and many diameters are unavailable) >>>> and some strings can have considerably sideways amplitude when plucked >>>> (even causing them to catch neighbouring strings!) as well as intonation >>>> issues (but that is also true of a lot of wound strings). >>>> >>>> Best, >>>> >>>> Matthew >>>> >>>>> On 01/02/2017 22:25, David Rastall wrote: >>>>> It seems I am back playing Baroque lute once again, after rather a long >>>>> hiatus. It’s been long enough that I have forgotten some of the points >>>>> of conventional wisdom concerning stringing. I’m playing an 11c lute >>>>> currently strung with silver-wound basses and Pyramid nylon mids and >>>>> trebles. I’m not so much bothered by the sustain of the nylon strings, >>>>> but if you folks can refresh my memory: what is the best choice of >>>>> basses to get a sustain which is not downright thunky or chunky, but has >>>>> shorter sustain than the silver-wounds? >>>>> >>>>> David R >>>>> >>>> >>>> >>>> To get on or off this list see list information at >>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>> >> >> >> --- >> This email has been checked for viruses by Avast antivirus software. >> https://www.avast.com/antivirus >> >> > > >
