There's lots of ways to change the pitch--and by the way I used the
word Sideways in my post--it's also a great movie, BTW.
In addition to the obvious ways, I use techniques borrowed from viol
players. By grabbing the string and rocking it
forward--bridgeward--you can slightly lower the pitch.
Just put the mighty Korg on and see how much the pitch changes.
If the needle does not move, change the batteries.
dt
At 10:17 PM 3/19/2009, you wrote:
On Thu, 19 Mar 2009, Sean Smith wrote:
It's not the tension but the stiffness of the strings that counts.
Peter.
I don't understand
But the rise in pitch is the direct result of an increase in length
--- On Thu, 19/3/09, Alexander Batov
alexander.ba...@vihuelademano.com wrote:
From: Alexander Batov alexander.ba...@vihuelademano.com
Subject: [LUTE] Re: String depression
To:
Cc:
Indeed.
To return to the principal matter (wether low frets and low string
depression to fingerboard are advantageous): depressing the string from
just touching the fret top to 'bottoming out' on the fingerboard
results in a miniscule increase in string length (and hence pitch)
Does the thicker fret solution usually go together with the
low tension theory? Presumably, the lower the tension the more
delicate the adjustment of pressure on the string can become?
Is it possible to compensate for difference of thickness between the
bass and its octave, by
Thank you David,
When you say you use thick frets, what rough sizes are you talking
about? And are they graduated?
Also, do you use double fret loops, as seems to have been the general
historic practice (discussion was had earlier about this - in the
archives). This very
All good points Anthony.
The new question of tension on octaves is especially interesting and,
as far as I'm aware, has not been addressed based on early evidence.
Incidentally, in addition to some French composers, Von Radolt (1701)
from the Austro/Bohemian school makes
They work better for me.
The thin ones wear out faster if you do a lot of tuning. I wear out
my second fret very quckly.
Also, you have to get a good grip on the string for forward rolls. I
can't do that with a thin fret.
For me it is a touch issue mainly, I can slide on any fret, but can't
do
For me, it not much of a problem with higher action. it not like i'm
going to use 5cm frets :-D
I have 0.60mm fishing wire, but it looks very very thin, should I try
with that too? and how?
I'm still not sure how to handle the nylon frets I have. But I will
try some of your recommendation
No, it's not. Think again or perhaps watch this little video that may
help you to get an idea what happens when one's fiddling about with
strings in-between frets:
[1]http://tinyurl.com/cfajt5
AB
- Original Message -
From: [2]Martyn Hodgson
To: [3]Alexander
On Fri, Mar 20, 2009 at 3:49 AM, Martyn Hodgson
hodgsonmar...@yahoo.co.uk wrote:
Indeed.
To return to the principal matter (wether low frets and low string
depression to fingerboard are advantageous): depressing the string from
just touching the fret top to 'bottoming out' on the
I thought it unecessarily pedantic to write: 'hence tension and hence
pitch'.
The essential point is that the very small deflection resulting from
depressing a string just touching the top of a fret through to
bottoming out on the fingerboard results in negligible increase in
I'm sorry if I misled you through not wishing to be unecessarily
pedantic: Yes, increase in length results in increase in tension which
results in increase in pitch; in short, the increase in length results
in an increase in pitch. The point is that, as in the example I gave,
the
2009/3/20 Alexander Batov [1]alexander.ba...@vihuelademano.com
No, it's not. Think again or perhaps watch this little video that
may
help you to get an idea what happens when one's fiddling about
with
strings in-between frets:
Hi All,
The new piece (for February - one of these days I will catch up wuth
myself) is in the usual place:
www.luteshop.co.uk/month/pieceofthemonth.htm
Best wishes,
Martin
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I've been reading the thread about bending strings about frets with
interest. But my current problem is simpler. I have a lute with
action that is too high. Using the test David van Edwards gives in
his little Care of the Lute booklet, it seems that the action is just
too high
The very best first course of action would be to have a someone with an
understanding, to look at the instrument. Basically all the other options
should be on hold, until this first one is achieved. This could be the maker,
or repair-person (!), or someone who dealt with this situation before,
Dear Suzanne,
If your action is too high at the nut (and only at the nut), this is
easy to fix, though making deeper grooves in nuts is not for the
faint-hearted and you need a suitably small needle file and some means
of polishing the grooves to make them smooth again. You could
Dear Martyn
Le 20 mars 09 à 10:35, hodgsonmar...@yahoo.co.uk a écrit :
All good points Anthony.
The new question of tension on octaves is especially
interesting and,
as far as I'm aware, has not been addressed based on early
evidence.
Incidentally, in addition to some
On Fri, Mar 20, 2009, Martin Shepherd mar...@luteshop.co.uk said:
Dear Suzanne,
If your action is too high at the nut (and only at the nut), this is
easy to fix, though making deeper grooves in nuts is not for the
faint-hearted
all too true.
There are some who beleive that the grooves
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