Nigel
According to Mimmo Peruffo, his new loaded strings would be more
stable to temperature and humidity influences even than synthetics.
I imagine this could be due to the loading by a sort of tanning
process. Perhaps the oxide? covering protects the string.
A lutist neighbour of mine
I am sure you are right. However, the Swan-neck could be a great
advantage for gut basses.
I tried two Stephen Gottlieb swan neck lutes, one had 14 courses, the
other had 13 courses,
and was the beautiful Fenton House Marx Unverdorben. The sound
produced by those long strings
was incredibly
In my previous message; I tried to point out the contradictory
situation in which players find themselves today.
Lute juggling (swapping lute and music types) can be very
entertaining, but this can not lead to the level of
performance skills that early historic lutists acquired. Staying with
Dear Martin and All
I go regularly to an amateur music salon, once a month, where I have
the good fortune of hearing a lutist who can choose between 33 lutes
(including 3 Baroque Malers, and 4 Baroque Freis) according to the
repertoire he is playing. He usually does make judicious choices,
Ed
I keep my 7c at D, and then stop it down for F. Of course this means
the7c is no longer open, which no doubt does effect the way the
string resonates. So there is a compromise, involved.
I would agree that in gut, the additional 8c is not so much of a
problem, for 6c or 7c music.
!
Chris
--- Anthony Hind [EMAIL PROTECTED] wrote:
Ed
I keep my 7c at D, and then stop it down for F. Of
course this means
the7c is no longer open, which no doubt does effect
the way the
string resonates. So there is a compromise,
involved.
I would agree that in gut, the additional 8c
--- Anthony Hind [EMAIL PROTECTED] wrote:
Ed
I keep my 7c at D, and then stop it down for F. Of
course this means
the7c is no longer open, which no doubt does effect
the way the
string resonates. So there is a compromise,
involved.
I would agree that in gut, the additional 8c is not
so
Michael
As an amateur, I was in the position that I felt I could only
justify purchasing one Renaissance lute. I was also hoping to venture
later into 11c French Baroque music.
I therefore had to make a compromise, and chose the 7c Gerle, because
this actual model is used by Jacob
Rob
I better send this again to the correct list. Actually, after
writing it, I saw you had already said most of it in a more compact
form.
Ed and all
I am also sure that Rob's lute will be excellent, and as everyone
keeps telling me, the player makes 70% of the sound, I
Ed and all
I am also sure that Rob's lute will be excellent, and as everyone
keeps telling me, the player makes 70% of the sound, I would be very
happy to borrow some of Rob's and Ed's playing skills to make my
future lute really sing. I am looking forward to the forthcoming on
On the French list, Carlos Gonzalez, luthier, says he always frets a
lute with the same material as its strings: gut with gut, nylgut with
nylgut, carbon with carbon, etc.
He first sand-papers the carbon. The difficulty is tightening the
fret sufficiently.
This does seem a logical way of
Martyn
Both those statements sound wonderful news, if they are followed
by any effect.
I have heard so much about FoMRHI, and have people quote from it, but
missed out on it completely. How excellent if it can be relaunched,
so long as there is the same dynamic available now for such
Dear All
After leaving my bag in a motorway cajé with papers some music and
Korg OT12 tuner, I was forced, while waiting for it to be sent on to
me. (There are some honest people about!), to use my equal
temperament Zen-on Chromatina 331 tuner. I bought this 20 years ago.
Yes I know I
I'll try that David
Le 20 nov. 07 à 12:32, Daniel Winheld a écrit :
Not me- keep the gimps; and if the Korg keeps giving you trouble tell
it you're taking it out for coffee again...
Any ideas about this. Yes I know you are going to tell me to swap my
gimped for wirewounds!!!
and that the
Howard, or any one else
I was just wondering what the legal situation is about putting a
link to a Jpeg, of a painting including a lute, when the photo on the
site has a copyright symbol on it.
Can linking your explanation to a photo that is copyrighted
infringe the photographer's rights,
Le 18 nov. 07 =C3! 07:16, howard posner a =C3=A9crit :
On Nov 17, 2007, at 9:34 PM, Michael Bocchicchio wrote:
With three different tags inside, do we know beyond the shadow of
a doubt that the whole soundboard was not remade in the later half
of the 17th century? -- It was a common
of that in the thread, only that there was no no
sign of a J bar.
This could possibly change the modern understanding of the sound
of the Renaissance lute! If it can be verified, I will make them.
Michael Bocchicchio
Anthony Hind [EMAIL PROTECTED] wrote: Daniel
Well, thanks for replying
of
musicologists. Maybe it will be the equivalent of the modern uses
of the Stratocaster vs. Les Paul. My analogy: you need a
Stratocaster to play The Shadows, not a Les Paul.
I can't wait to hear more as more is discovered!
MB
Anthony Hind [EMAIL PROTECTED] wrote: Thank you Michael
Daniel
Well, thanks for replying, it is not always obvious that there is
someone out there listening. I am happy that this topic is of
interest to you. I think we may be in a minority, but I don't really
know.
Just before, I talk briefly about that, I would like to point out,
that I
Dear Peter and All
I am indeed interested. Your photos are excellent, and I very much
enjoyed the discussion of the Rauwolf, by Michael Lowe, Stephen
Gottlieb, and David Munro, at the Lute society, as well as Jakob
Lindberg's performance afterwards. I must congratulate you on your
Stephan
Sorry, I have just realized it was not a coincidence, I had put a
filter on with the name Railich, and so your message appeared, at the
top of the list. I then thought it was recent.
Did you find out about the gut string in question? I think Wolfgang
Emmerich told me the lute had
Stephan
Well that is a strange coincidence because I have just mentionned
Wofgan Emmerich in my mail about the Rauwolf on the question of barring.
Wolfgang Emmerich has had the opportunity to study a number of
Railich, and I was able to put him in contact with Professor Lippi at
of the title page of a Hans Newsidler tablature
book - not sure which one.
Andrew
On 15 Nov 2007, at 13:56, Anthony Hind wrote:
Dear Lutists
For those who read the Lute News N° 83 and saw that David Munro
on page 15, announced some colour photos of the Rauwolf during and
after restoration on a web
Le 15 nov. 07 à 17:30, G. Crona a écrit :
Could this mean that the lute at one time belonged to Father
Neusidler?
- Original Message - From: Mathias Rösel
[EMAIL PROTECTED]
To: G. Crona [EMAIL PROTECTED]
Cc: Anthony Hind [EMAIL PROTECTED]; Andrew Gibbs
[EMAIL PROTECTED]; lute
Jim
That was more or less the position adopted by Mark Wheeler during
the previous discussion (He is also a cittern player). Except that he
also added that he used the thumb to prevent some strings sounding,
if they were accidentally struck, when the strumming went a little
wide of the
Luca and All
First, I should apologize to all left-handed players, such as Jean-
Marie, since I am going to take it for granted that all you lefties
are just mirror-image right handers, as most lutists do when talking
about left-hand and right-hand technique.
As Denys Stephens implies in
Oups, yet another problem, I am all thumbs it seems.
Luca and All
First, I should apologize to all left-handed players, such as Jean-
Marie, since I am going to take it for granted that all you lefties
are just mirror-image right handers, as most lutists do when talking
about left-hand and
Luca
You are quite right, but unless you are a professional, it is
difficult to justify purchasing the number of instruments that
someone like Jacob Heringman has at his disposition.
It could be that a single 6c intrument would be a better compromise
than an 8c instrument, since even
to not be possible, or practical, except by someone trying to
prove a point.
- Original Message - From: Anthony Hind
[EMAIL PROTECTED]
To: Luca Manassero [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Wednesday, November 07, 2007 6:37 AM
Subject: [LUTE] Re: Neck section thumb over
Oups
I can but try again
My message was cut, let's try again
David and Daniel
I think this question was raised in January 2007, following a
discussion that began on the French lute list http://tinyurl.com/
2d8fb8 One of the luthists, on the French list, involved in the
earlier discussion
is too wide of the
mark.
Regards
Anthony
Le 3 nov. 07 à 20:29, Anthony Hind a écrit :
Taco
It would be better, if Mimmo Peruffo would answer this, and
perhaps he will.
However, I heard them and saw them on Mimmo Peruffo's bass lute,
through Skype, and as far as I could hear and see
I hope you may be right for the loaded strings. Perhaps they are on
their way, and you read the signs better than I do. Undoubtedly,
Mimmo will be demonstrating something this month at the Greenwich
early music festival. I suppose you may see his lute strung with
loaded strings, perhaps
I don't think the sound of carbon is that great even when treated
with a bit of sanding, but I use them when I play under high
intensity spotlights, which is I'm afraid where most of the concerts
are these dayslights and A/C.
There is nothing as good as gut, especially for the ornaments.
dt
Le 3 nov. 07 à 14:08, Edward Martin a écrit :
At 01:42 PM 11/3/2007 +0100, Anthony Hind wrote:
Also he mentions the question of the octaves on the lower courses
having been historically about half the tension of the basses
themselves.
6. Octave strings: the modern tendency is to apply
play overall with
light
tension.
In my experience, to merely put on a smaller diameter Pistoy, or other
plain gut, would not sound any brighter.
ed
At 02:37 PM 11/3/2007 +0100, Anthony Hind wrote:
To what extent would it be possible to raise the tension of the
octave to lower the tension
Taco
It would be better, if Mimmo Peruffo would answer this, and perhaps
he will.
However, I heard them and saw them on Mimmo Peruffo's bass lute,
through Skype, and as far as I could hear and see in such a context
they did seem good.
I have an M-Audio Transit plus JBL on Tour speakers
Dear All
After reading Mimmo Peruffo's interesting article, I find that it
explains an improvement, I obtained by changing my stringing, in an
experiment I described at http://tinyurl.com/2husza.
I would like to discuss various points raised by MP in the light of
my experiment, but I do
Le 26 oct. 07 à 02:15, David Tayler a écrit :
Thanks to everyone's suggestions for nut material--
the tagua looks very interesting--I'm not sure I'm ready for Corian.
--
David
The following may be too detailed, but who knows who might be
reading this, and perhaps find an idea, for
Nigel
For the string you are stopping that would be true, but perhaps for
the open strings that are resonating in sympathy, the nut is still
important. I have had a buzz that seemed to be coming from one
string, but it was actually the neighbouring string, not buzzing on
the nut, in
Teflon, because of its slipperyness, should be a good material. I
wonder whether some ceramic material such as those used for high
voltage capacitor ends could not also be excellent.
The problem is how to cut and polish it. I saw this, but don't know
what it is:
An improved fret, nut
They are in the US, but not I think in Europe. or elsewhere.
I saw this on sale with that precise limit:
PRE-BAN ELEPHANT NUT SADDLE BLANKS
Our Pre-Ban Elephant Ivory is well documented Pre-Ban material that
can be sold only to U.S. customers with no exceptions. Pre-Ban
Elephant Ivory is
Nigel
I agree with Ed, it takes a few months for Pistoy an Venice to
come up/down to their final thickness. The more supple a string, the
more it will finally stretch and end up slightly thinner.
The surface texture will also change slightly over that period, so
that such a string
Nigel
The problem is that Mimmo Peruffo has not yet commercialised his new
loaded gut.
Nor has he commercialised his open-wound strings. Perhaps you could
try gimped strings, but if the tubbiness is tonal, you could try the
Venice equivalent by Aquila, they are definitely more rich in the
Glad you enjoyed them Craig
Anthony
Le 17 oct. 07 à 01:00, [EMAIL PROTECTED] a écrit :
Anthony,
Those are delightful photos. I had to wait till I got home this
evening to view them as some sites are blocked by the firewall at
work. Thank you for sharing those.
Regards,
Craig
At 09:25 AM
Craig, here are a few photos I took of Jacob Herinmna preparing to
play at Caen.I could not take photos while he was actually playing,
but you get an idea of his position.
You can tell, I was quite far away and had to enlarge the photos from
135mm lens, but the sound was very clear.
Le 14 oct. 07 =E0 02:08, howard posner a ecrit :
On Oct 13, 2007, at 3:17 PM, Anthony Hind wrote:
but please don't take my remarks too seriously,
No danger of that, though I'll point out there was enough in your
little paragraph to fail an exam in both torts and civil procedure
Le 15 oct. 07 à 14:39, Ed Durbrow a écrit :
On Oct 15, 2007, at 7:21 PM, Anthony Hind wrote:
If as you say Ed, the Vsam needs to be used with output signal to
work really well, that's not so good for the concert situation
either.
I didn't mean to say that it HAS to use the sound output
Ed
Is this not quite expensive, and somewhat bulky? In his article on
tuning meters in n=B0 79. Gordon Gregory does say that the Peterson is
accurate to +/- 0,1 per cent, if you need that, and as you say it is
extremely convenient and programmable.
At Amason I see the price is $249
Louis
Those law students were probably learning how to drum up
conflicts out of nothing, so someone would file a law suit, and they
could offer their services. That is what in French universities, they
call travaux praitiques. They would have got very good marks for
trying …
I think there are a series of recordings that relate to this contact
between, Chinese and European baroque traditions through the Jesuits.
They are shown here:
http://www.lebaroquenomade.com/site/Discographie_et_photos.htm#
Anthony
Le 13 oct. 07 à 16:32, Anthony Hind a écrit :
Dear
as the focus of our topics.
Regards
Anthony
Le 13 oct. 07 à 19:25, howard posner a écrit :
On Oct 13, 2007, at 1:20 AM, Anthony Hind wrote:
Those law students were probably learning how to drum up conflicts
out of nothing, so someone would file a law suit, and they could
offer their services
Dana
Do you use synthetics, or gut on your longbow?
Historically, bowstrings have been made from sinew, twisted rawhide,
gut, hemp, flax, or silk. Today, strings for wooden longbows are
often made of linen thread. Compound bows may be strung with steel
wire. Bowstrings for popular
When I saw Jacob Heringman play, I couldn't help seeing him as an an
archer: both lower left arm and lower right arm and the lute parallel
to the ground. His left hand was near the rose, but when he drew it
back towards the bridge, it seemed cranked back progressively by a
mechanism
Dear Martin and Ron
How about this natural spring question, and the differing resonant
properties of heartwood and sapwood? Do you think, Martin, that
heartwood/sapwood Yew has a different sound from plain Yew?
Stephen Gottlieb mentions how well Yew goes with gut. Do you have the
unleash that hail of arrows? Or even, do you
have all those archers lined up in the first place?
Sorry to raise the issue of death here - it seems almost blasphemous.
Martin
Anthony Hind wrote:
Dear Martin and Ron
How about this natural spring question, and the differing resonant
Chris, what you say about learning to perform in a way suitable for
varying contexts, I agree with entirely; and aso with what David
replies to you How does one amplify the subtleties of lute playing?.
Nevertheless, I am serious when I say that lutes are among the most
difficult
Also, it doesn't appear to work for MAC, or am I wrong there?
Anthony
Le 10 oct. 07 à 12:50, Henk Pakker a écrit :
Hello all,
I have sent this earlier, but do not see it posted, so again:
This reader could be of use for this and other forums?
http://www.snapfiles.com/get/wfreaderlite.html
Ron
Never fear, all is almost under control, and although not
immediately lute related (and slightly off topic, but see below),
just like the military yew-wood for bows turned into lutes, these
resonance-inert military quality components: American, English,
French and Russian, military
Garry
To tell the truth not only a recording of lute music SHOULD itself
be controversial but it always IS controversial. It is definitely
one of the most difficult instruments to record in a satisfying way,
as David v. O's tests are proving.
I gave up active lute playing while
Chris
Well you are closer to the reality than you can possibly
imagine. The thing is more than alive, and is growing daily. Could be
considered a target for immediate obliteration.
Regards
Anthony
Le 9 oct. 07 à 19:53, [EMAIL PROTECTED] a écrit :
--- Anthony Hind [EMAIL PROTECTED
Jim
You are quite right to raise this question, as the lute through =20
a hifi, is always to a certain extent an electric lute.
A number of sound engineers record the lute at quite a high level, so =20=
as to lift it from the back-ground noise. Bis, used to be one such =20
company, and they
Le 8 oct. 07 =E0 18:31, Roman Turovsky a =E9crit :
As for Newsidler, welsch most certainly meant Italian.
--
Mathias
I am not convinced 100%.
RT
Such terms are notorious for shifting in reference.
It seems that Old Germanic *walah, walh, may have just meant =20
foreigner. In old English
I forgot to say that Walloon is of the same origin, as is walnut (nut =20=
not native to England)
Anthony
Le 8 oct. 07 =E0 19:28, Anthony Hind a =E9crit :
Le 8 oct. 07 =3DE0 18:31, Roman Turovsky a =3DE9crit :
As for Newsidler, welsch most certainly meant Italian.
--
Mathias
I am
page into a history of language site,
even if that is one of my hobbies.
Anthony
Le 8 oct. 07 à 20:28, Mathias Rösel a écrit :
Anthony Hind [EMAIL PROTECTED] schrieb:
Did the Germanic people call all speakers of other languages
*walah =20
or foreigner , or did a word referring to Gallic
On the whole it is no doubt better to improve your technique, you =20=
only need to carry your lute.
However, microphones may occasionally be used, as when Miguel =20
Serdoura played on Baroque lute, before an audience Chinse audience =20
of 1200 persons. Then came a trio with two Chinese
Puisce que vous regardez You tube en ce moment, voil=E0 Rob McKillop =20
sur le luth historique, qui se trouve =E0 EDINBURGH UNIVERSITY =20
COLLECTION OF HISTORIC MUSICAL INSTRUMENTS
* Maker: Matheus Buchenberg.
* Place: Rome.
* Date of making: early 17th century
See and hear Rob
Sorry, I intended to send that to the French list, and clicked too
quickly.
I see the format problem has returned.
Regards
Anthony
Le 1 oct. 07 =E0 15:37, Anthony Hind a ecrit :
Puisce que vous regardez You tube en ce moment, voil=E0 Rob
McKillop =20
sur le luth historique, qui se trouve
=3Dviewcurrent=3DLutePeghedComplete.jpg
http://fr.ph.groups.yahoo.com/group/Le_luth/photos/view/e772?b=3D4
Anthony
Le 29 sept. 07 =E0 12:58, Anthony Hind a =E9crit :
Henk
A vihuelist on the French list reports he has adapted these pegs =
=20
himself for his vihuela (or rather vice versa
for his photos directly, should you be =20
interested.
Regards
Anthony
Le 30 sept. 07 =E0 09:28, Anthony Hind a =E9crit :
Henk and Ed
The French Vihuelist considers that installing the new pegs =20=
=3D20
does not make the peg-head more fragile. He argues that once they =20
are =3D20=3D
.
Regards,
Leonard Williams
On 9/30/07 5:05 AM, Anthony Hind [EMAIL PROTECTED] wrote:
Henk
Well, I see that that the image link is automatically garbled =20
by =3D20=3D
intervening letters and numbers.
I can understand that this is a security against unwanted images.
It would
It now does seem that the text comes through all right. I don't know
how my format changed.
All you need to do now, is to copy the complete link into your browser.
You may have to copy the two lines that makes the complete link
separately.
I give the three links once more:
Making the holes
Dear Lutists
The SFL is announcing a new Baroque lute method by Miguel =
Serdoura, =20
at http://sf-luth.org/index.php?La_S.F.L./Lettre_d%27Information
Anthony
NEW !
Published by the French Lute Society
M=E9thode de Luth
In my younger days, and in a very different life, I was rather deft =20
at playing the stove-pipe, well actually it was a longish drain-pipe =20
tuned to A 440. Any takers for a lute + stove-pipe duet?
Anthony
Le 26 sept. 07 =E0 00:36, howard posner a =E9crit :
On Sep 25, 2007, at 2:19 PM,
, 2007, at 8:22 AM, Anthony Hind wrote:
I would agree with Roman that discussing in detail about a
string which I have only seen on one lute, and which I was unable to
judge, because I am completely unfamiliar with such a huge bass lute,
would seem slightly surrealistic (a little Dodsonian
at times whether the
changes in my own playing are reflective of general changes in the
lute world, or maybe the early-music world in general.
Very interested to hear your ideas on this.
Regards,
David R
On Sep 24, 2007, at 3:45 PM, Anthony Hind wrote:
Dear Bruno and Andronico
I
years.
Sorry, I have been long-winded again.
Regards
Anthony
Le 25 sept. 07 à 10:47, Anthony Hind a écrit :
Dear David
I have problems with analyses that take apart the
playing of a person on one occasion. Especially, in the case of a
lutist who began playing in a completely
Dear All,
Just a few comments:
I think it is probably wrong to assume that Julian Bream or Wanda
Landowska were louder than their modern counterparts - in fact it
seems
to me that with both lutes and harpsichords, as modern makers have got
closer to historical models and methods (and
Dear David
Perhaps, your experience shows that my view has been too strongly
coloured by the lutists who have most effected my sensitivity to the
lute at key moments. Julian Bream (who first interested me in the
lute), then my teacher and Hoppy, who I saw and heard a number of
Sean and Dana
I think you must both be correct (in a way). I have not experimented
this, but in my mind I see myself stretching a piece of rubber band
held between two fingers of both hands,.
In between the hands the rubber band will become thinner, but on the
other side of the
and Perlon?
On Sep 24, 2007, at 1:57 AM, Anthony Hind wrote:
Sean and Dana
I think you must both be correct (in a way). I have not experimented
this, but in my mind I see myself stretching a piece of rubber band
held between two fingers of both hands,.
In between the hands the rubber band
Dear Bruno and Andronico
I think there may be phases in historical music in which players
reject what went before, partly for reasons of greater authenticity,
but not only, so.
Following a period in which pioneering musicians played with modern
techniques on modern heavy high tension
of
the fisherman's tale.
A lutemaker who was present declared that it would therefore be
almost impossible to predict the final tension, and that Remi
Cassaigne should beware.
Best regards
Anthony
Le 23 sept. 07 à 07:36, Sean Smith a écrit :
On Sep 22, 2007, at 10:47 AM, Anthony Hind wrote
David
I was told there were two distributers: one is Strinbel, http://
www.stringbelstrings.com/eng.htm, the other is /DAddario, http://
namm.harmony-central.com/WNAMM07/Content/DAddario/PR/T2-Strings.html.
I think these last were the ones he tried.
But I also see something similar at
the diameter (the mass must remain
constant, right?) How does one push that through the bridge hole?
Respectfully curious,
Sean
On Sep 23, 2007, at 1:52 AM, Anthony Hind wrote:
Sean
Well that is what he told me. I only saw them on his lute, so for
all I know he may have been
Anton, Ed
I did use these many years ago, and I seem to remember that they
were slightly warmer than the nylon core; but when compared with a
gimped string (possibly even an open-wound), they still should be
classified as bright. Lindberg in the LSA article seems to think that
Dear Anton
Do you think 3 kilos tension is ok for the wound gut
basses? Or should it be less somehow?
Ed will be able to help you more on the technical issue of tension;
but I am not sure whether you are asking if the wound gut can be
tensed to 3K. I suppose that depends on the
Le 20 sept. 07 =E0 10:44, Anthony Hind a ecrit :
Le 19 sept. 07 =E0 16:43, David Rastall a ecrit :
On Sep 18, 2007, at 5:05 PM, Anthony Hind wrote:
Could lutes made for outdoor use have been built differently
from chamber lutes? Perhaps, if they did once exist, they would have
been
Henk this is not a reply to your question, sorry but it goes in the
same direction as this quote :
Le 18 sept. 07 à 21:00, henk a écrit :
I agree with Arto: lute playing could not have been so quiet in the
16th and
17th centuries...let alone in the baroque area. I like Sterling's
humor
Le 19 sept. 07 à 11:19, LGS-Europe a écrit :
Sorry, my mail went to the wrong list (I think), so here's it again:
of lutes being played _outside_ ... with ensembles?
Where these guys essentially just playing air lute?
I played outside last weekend. In a harbour in front of boat, (...) No
Le 19 sept. 07 =E0 12:23, LGS-Europe a ecrit :
What to you mean by With a lute, we bring our own acoustics, I sort
of understand, but could you develop this?
Lute projection is good under many circumstances, hall is not so
important. With classical guitar acoustics of hall is of
Right, I thought it was perhaps something of an acoustical one-way
diode effect, but your explanation about notching filters (completely
outside the guitar) shows that this is probably not the case.
One question then, does the cut out of the rose play any particular
role? In other words,
stored in. Then: in a
case, have a battery-operated humidity sensor, and look at it every
time you open the case. That'll be as close to the steady-state closed
case humidity as you can get (short of the remote-sensing approch
Anthony Hind mentions). Figure that the meter is guaranteed to be off
Henk
I also saw Hoppy doing exactly what you describe at a Renaissance
lute concert in Paris, but also more mysteriously, he put something
in the middle of his right hand and rubbed it in.
Of course this could just be part of the Hoppy magic. We all went
very quiet and concentrated
Dear Arto and Henk
I have been told by a lutist, who briefly swapped lutes with him,
that Hoppy's lutes do not have the greatest projection. Following the
swap, Hoppy had more projection, but his own was somewhat reduced.
Perhaps, Hoppy considers this as of no great importance.
I
Could lutes made for outdoor use have been built differently
from chamber lutes? Perhaps, if they did once exist, they would have
been prone to damage, and may not have survived. They also could have
been less ornate and so of less value, and relatively easily discarded.
Here in
Le 17 sept. 07 à 09:51, bill kilpatrick a écrit :
if, on that great day of reckoning and final
judgement, god turns out to be arboreal in nature, i,
for one, am in a lot of trouble. driving a tractor
has been a learning experience ... the brunt of which,
alas, has been borne by the lower
Le 17 sept. 07 à 18:49, [EMAIL PROTECTED]
[EMAIL PROTECTED] a écrit :
On Sun, Sep 16, 2007, Anthony Hind [EMAIL PROTECTED] said:
I don't think it is very easy to generalize, about this sort of
thing. What seems to be important, is constant temperature and
humidity; and while a case may
Stephen
I know a person who owns, and actually plays, more than 30 lutes. He
has most of those suspended from the peg box with a string going to
hooks on the wall. He is a very careful person, and I doubt whether
he would do that, if there was a risk.
He also has a collection of the
I would not like to encourage people to put their lutes on the wall
(I no longer do so myself). However, when I first received a few
lessons from an English lute player in Paris (a student of Michael
Schaffer), I well remember that all his lutes were on the wall. As a
consequence,
Stephen
My lute developed a crack in the ebony veneer, in spite of being in
a case. I had it repaired, and someone suggested I should put a
green snake cello humidifier in the case to keep the lute humid
whenever the humidity dropped. I actually placed a hygrometer with
warning
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