I've found Pirastro Aricore cello strings beat gut for stability. They stay
in tune and don't seem prone to going into harmonics. They are a bit quieter
and warmer sounding . I use Cello C for a low D Gros bourdon which will go
up to G but gets a bit loud for my taste, The Cello G is great at either c
or d for the Petit bourdon.
I've just put a tuner against the trompette of a few gurdies here and found
they both detune around 8 cents on buzzing - I've never really found it a
problem. Maybe you could tune the trompette up by 4 cents so the effect
averages out.
Neil
http://www.myspace.com/neilbrook
www.hurdy-gurdy.org.uk
----- Original Message -----
From: "Arle Lommel" <[EMAIL PROTECTED]>
To: <[email protected]>
Sent: Thursday, July 27, 2006 8:04 PM
Subject: Re: [HG] String setup / adjustment question?
Hi Matt,
I don't remember Daniel Wolverson's discussion - I'm glad to see it
now...
I actually only remembered it because I just authored an article with
Balázs Nagy on the tekerő that we submitted to a journal and I wanted to
cite some information on the buzzing bridge's physics that Frank Vickers
had passed on from his own discussions with Wolverson. The bits I needed
happened to be in the same location as that response from Wolverson, so I
knew right where they were from having seen them last week.
I feel as if I've tested this idea - I "fixed" the chien by simply
holding it down to keep it from buzzing and continuing to crank as if I
was attempting to buzz... no drop in pitch. Anyway, doesn't his test
condition describe the permanent condition of all the other non-buzzing
strings?
That's what I thought, but I passed on his message in toto in case there
was something useful. However, I have noticed that on my gros bourdon, if
there is too much pressure on the wheel, does exhibit the effect
Wolverson described.
This is more interesting! It's true, this is an effect that harmonica
players use (I've never been able to bent pitch *up* on a harmonica!).
But in this case we're not talking about two similarly tuned reeds
vibrating simultaneously, nor are we talking about two separate bowed
strings resting on the same bridge. Do you suppose the same effect
applies with only one string on the bridge, and that being bowed on only
one side of the bridge?
I don't know much about this, but I think that it ought to be testable if
one can figure out how to put mass on the other side of the bridge
without making it so that the bridge doesn't buzz.
In reading your original post where you describe the problems and what is
going on, and the responses, I have a few other things that might be
worth trying:
Regarding the drone strings that break into high harmonics, this sounds
like a problem I had. The solution was replacing the strings with a
different kind of string that was not as stiff:
Here are some things to consider:
1. Is the string you are using too heavy or stiff? On my tekerő I had a
HEAVY and STIFF gut bass drone that had the problems you described.
Replacing it with a lighter gut-core, copper-wrapped string (made by
Balázs Nagy) took care of the problem totally. A string that is too stiff
will want to vibrate at a higher pitch than one that is not as stiff
because the displacement along the string is smaller if the string is
vibrating at the harmonic than at the fundamental. Tightening the string
can take care of the problem, but loosening it results in a very poor
sound.
2. Are you using enough rosin? Insufficient rosin can do what you
describe. You are an experienced player, so I don't think this is the
issue, but it's worth asking.
3. Are you using too hard a rosin? I know everyone else is telling you to
move to a harder rosin, but your rosin has to be tacky enough to really
pull the heavy drone strings. Think of the difference between bass rosin
and violin rosin: what is ideal for your chanterelles is harder than what
is ideal for your low drones. You may need to go to a rosin that is
softer than what is ideal for the melody strings in order to meet the
demands of your drones.
Regarding the dog that drops in pitch, have you replaced the dog at all?
I think that the people pointing to changes in weather may be on to
something. Even inside my house I detect a lot of seasonal wood movement
and have noticed real effects on a number of my instruments. Note that
Neil's attribution to high heat and low humidity can just as likely be
the other way around: it all depends on what the instrument is stable at.
Changes either way can create problems. You may find that you need
different dogs for different seasons.
I don't know how helpful any of this is, but I think you can probably
take care of the drones by trying different strings and you then have
only one problem to deal with...
-Arle
--
No virus found in this incoming message.
Checked by AVG Free Edition.
Version: 7.1.394 / Virus Database: 268.10.4/401 - Release Date: 26/07/2006
