Hi Chris - I am still drawing flat out and will post updates of the views soon. I will use the same sort of string lifters for the chein as I used in my Jiri plan. I'm working on designing remote chanter string lifters and will draw these in the plan in due source. They will work on a levered plunger that will come up underneath the chanter strings. These will be operated with a push button actuating a fulcrum lever,which in turn slides under the sloping bottom of the plunger pushing it up. I thought that I'd use small magnets to hold the plunger down when in the rest position and a small spring to hold the lever/button in the out position when the string is engaged.Sounds complex but is quite simple really. I just need to work out the lengths and angles and draw it. I'll draw up Gross bourdon string lifter/plungers as well. If you want simple string lifters you could use harp sharping levers see "Chanter string lifters" https://sites.google.com/site/mccormackgraeme/oudbackedhurdygurdymaking/putting-jirir-together
Cheers Graeme On 21 December 2011 01:18, Kazimierz Verkmastare <[email protected]> wrote: > A couple of other questions. I can see the 'lifted' position mechanism on > the bourdon bridge screws, and from the rear on the chein-side drone > bridge, but are you going to use just a simple standard peg on the chein or > something more complicated, and I know it just isn't drawn here (no > internal keybox detail is) but what kind of lifters are you going to use > for the chanters? > > The reason I am asking is that my current design is based on a medieval > instrument - I want the sound to be equal to the best such an instrument > could provide (in other words, right after truing the wheel, re-cottoning > and rosining). I know that the average sound of a late medieval gurdy was > not optimal due to materials limitations, but I am also certain that there > were moments when the setup came together and the sound would have been > something we could recognize and respect. Technology has allowed us in > many way not to improve the best sound our instruments can make, but to > make sure they are far more consistent at making those sounds. (A Gurdy > consistent? Funny, right? Kinda like an experiment I once did - making a > medieval Scotch from a recipe found in an old monastery manuscript. I used > to think that Scotch was a non-evolved spirit, after that experiment, done > under the full supervision of an experienced professional brewer, I now > know that Scotch has evolved probably more than any other whiskey.) > > So I want to use modern technology to make a more stable instrument but > use medieval theory and practice to build an instrument with the sonic > profile and playability of an ancient instrument. I have been drawing > plans based on a not-so-recognized gurdy from a Bosch painting, but since > we have no instruments that I know of from that time or earlier, I was > thinking of just cutting 'bumps' into the front of the keybox wall and > using them as lifter pads, or cutting the upper profile of the bridge so as > to have some higher pads just beside the notches for the strings. > > I probably won't be building directly from your plans, but the > measurements and angles all seem quite right for what I am building, and I > may fine tune my drawings with some of your design, if I have your > permission. > > Thanks > > Chris > > > I'm using metal for the treaded bridges. Similar to the one you can > > see on Mel and Ann's site > > http://www.hurdygurdycrafters.com/index.asp?page=parts6.2 > > They sound fine. I like the adjustability of them as with the > > chanter bridge. I make up an adjustable height chanter bridge by > > using double bass adjustment screws. Just cut the bridge legs and > > drill holes to take the Bass screws. On my Jiri gurdy I even made > > adjustable dog bridges. I have an ebony slider which can screw in > > and out pushing the dog further away from the wheel if necessary. > > Makes for easy setup and fine tuning of all the string to wheel > > pressures. > > I haven't made two of the exact same gurdies and used wood > > (standard) versus metal (adjustable) bridges. So I can't really > > make a definitive comment on the deadening effect on sound using > > the metal. I like the sound I'm getting from my Jiri gurdy though. > > > > > > I just use the standard brace setup. Easy to get the shaft lined up > > at drilling stage if the bushings are at the end block and at > > "brace two" (on my plan). It is critical to get the shaft at the > > correct angle and hence the wheel at the correct height above the > > sound board. > > > > > > I take your point about the pegbox attachment. I'll beef up the > > buttresses 'boat tails' and they get routed into slots in the peg > > head end block, as well as the peg head. I'll draw this in clearly. > > Thanks for the feed back > > Cheers > > Graeme > > > > On 18 December 2011 17:58, Kazimierz Verkmastare <[email protected]> > > wrote: > > > >> I like what I see - if the measurements are kept consistent with > >> a bit of aesthetic engineering this could be built to look like > >> any number of period pieces. > >> > >> > > I need to ask, are you using hardwood threaded bridges for the > > bourdons on the lower side of the gurdy, or metal. Are they > > grooved all around in two places so as to give a on-wheel and off- > > wheel position for each? I have seen a wedge-adjusted bridge > > setup, but have not had my hands on a gurdy with threaded bridges > > in this position, and I would be interested in the effects that > > something as dense and large as metal threaded rods in this > > position would have on sound. > > > >> > > I am assuming that there will be a standard pattern of 3 top > > structural braces in the region of the shaft, the front (tail) and > > rear (head) of the 3 holding the bushings and the middle drilled > > for clearance. One of the questions I was going to ask while > > developing a builder plan is why (aside from the obvious problems > > of precision alignment) the current standard seems to be to not > > bush the middle of the shaft. Is it just difficulty in alignment > > and operation when material moves, or is there another reason. > > > >> > > The only stress concern I am seeing is the very narrow area of > > attachment between the head of the body and the peghead. I know > > the peghead is mostly supported by attachment to the keybox, but > > the who 'boattail' on the head end of the soundbox seems to end up > > a bit too thin. Again, I am no expert, but seems to me that the > > peghead should be really firmly attached to the body of the > > instrument and possibly more lightly to the keybox, I am not sure > > why that seems to make sense to me and would really appreciate the > > real practical reasoning involving peghead attachment and soundbox > > float so I can be more educated. > > > >> > > More questions and comments as I study further > > > > Chris > >> > >> > >> Hi all - Just thought I'd say a happy Christmas to you all. I > >> have been diddling with the drawing pen again and have added > >> draft plans for a Henri III Renaissance Hurdy Gurdy to by web > >> site. I would be interested in what people thought of this gurdy > >> setup. Any comments/suggestions welcomed. I'm going to make this > >> one out of Huon pine. Should be able to start building it in the > >> new year. So Season greetings and download a "plan" pressy from > >> 'Antiquated Strings' > >> > >> http://sites.google.com/site/mccormackgraeme/antiquatedstrings > >> > >> Cheers > >> Graeme McCormack > >> > >> -- > >> Graeme Mccormack > >> 1056 Halls Track Road > >> Pelverata, TAS 7150 > >> ph: 0362663598, MOB: 0429663598 > >> email: [email protected] > >> work email: [email protected] > >> web:www.mccormack.graeme.googlepages.com/antiquatedstrings > > > > > >> -- > > You received this message because you are subscribed to the Google > > Groups "hurdygurdy" group. > > To post to this group, send email to [email protected] To > > unsubscribe from this group, send email to > > [email protected] For more options, visit > > this group at http://groups.google.com/group/hurdygurdy The rules > > of posting, courtesy, and other list information may be found at > > http://hurdygurdy.com/mailinglist/index.htm. To reduce spam, posts > > from new subscribers are held pending approval by the webmaster. > > > > > > -- > > Graeme Mccormack > > 1056 Halls Track Road > > Pelverata, TAS 7150 > > ph: 0362663598, MOB: 0429663598 > > email: [email protected] > > work email: [email protected] > > web:www.mccormack.graeme.googlepages.com/antiquatedstrings > > -- > You received this message because you are subscribed to the Google > Groups "hurdygurdy" group. > To post to this group, send email to [email protected] > To unsubscribe from this group, send email to > [email protected] > For more options, visit this group at > http://groups.google.com/group/hurdygurdy > > The rules of posting, courtesy, and other list information may be found at > http://hurdygurdy.com/mailinglist/index.htm. To reduce spam, posts from > new subscribers are held pending approval by the webmaster. > -- Graeme Mccormack 1056 Halls Track Road Pelverata, TAS 7150 ph: 0362663598, MOB: 0429663598 email: [email protected] work email: [email protected] web:www.mccormack.graeme.googlepages.com/antiquatedstrings -- You received this message because you are subscribed to the Google Groups "hurdygurdy" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/hurdygurdy The rules of posting, courtesy, and other list information may be found at http://hurdygurdy.com/mailinglist/index.htm. To reduce spam, posts from new subscribers are held pending approval by the webmaster.
