Hi Kevin,

Thanks for all this information. I didn't note your mails until today as my 
mail program didn't alert me when they came in, so apologies for my tardy 
response. Interesting that the person who made the notes (I don't find the name 
right off) was aware of the deficiencies. He also notes the following at the 
end:

The hurdy-gurdy used for this recording has a very good rhythmic effect, clear 
and strong, but the melody has no volume. The reason is that it was designed 
for a D tuning, id set, with two “chanterelles” supporting a high tension. The 
G tuning, used by Mr. Vasson on the record, is lower, and the string vibrations 
may be improper in comparison of the [sic] body. You may have noticed it when 
you first listened to that record. As it was impossible to make to make Mr. 
Vasson play on another hurdy-gurdy, we tried our best with what we had, without 
using electronic system [sic] to modify the natural sound.

I was talking to Bob Green once and he said that one of his biggest 
frustrations in teaching people was that he'd spend a few hours getting their 
instruments into what he considered playable shape and by the next day they’d 
have them back to the way they were, completely undoing everything they did. He 
said the problem was that people knew what they wanted and would go back to it, 
even if it wasn't right for the music he was teaching them. Seems like Vasson 
knew what his instrument should sound like and stuck to it, even if others 
disagreed.

Best,

Arle



On Dec 27, 2011, at 20:50 , Kevin Hughes wrote:

> Arle Lommel wrote:
>> This one is performed a violone, so you can hear that the wheel is out and 
>> the rosin is less than ideal.
> 
> This is mentioned in the notes ( 
> http://lfs.alexanderstreet.com/liner/2dc384e01e7f768afacc547b9b5e8d1c/FW08747.pdf
>  ) :
> …

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