Benjamin,
So, you have that lute. What a gorgeous instrument. I have seen That
lute on Grants site and have always admired it. Congratulations!
Michael Thames
www.ThamesClassicalGuitars.com
----- Original Message -----
From: "Benjamin Narvey" <[EMAIL PROTECTED]>
To: "Michael Thames" <[EMAIL PROTECTED]>
Cc: <[email protected]>; "Benjamin Narvey"
<[EMAIL PROTECTED]>; "Benjamin Narvey"
<[EMAIL PROTECTED]>
Sent: Saturday, February 26, 2005 11:21 AM
Subject: Re: Minikins, Catlins, Lyons, Pistoys, Gimped...
> Dear Michael,
>
> Yes, the Widhalm is a lovely one, isn't it? I'm very proud! I was able
to
> get mine second hand, and it's truly superb: its dimension are
73/89/102 - it
> has a Jauck-style triple extension. Here's a photo-link onto Grant's
site:
>
> http://tomlinsonlutes.com/thirt2.html
>
> The instrument pictured is my lute, although the photo is now several
years
> old. The lute has wonderful tone, balance, exquisite workmanship and
dynamic
> range. It even packs a continuo punch; so who could ask for anything
more?
>
> Yes, I'm thinking of getting some wound nylguts from Mimmo for the
basses -
> his "D" type strings, are they?
>
> All best,
>
> Benjamin
>
> In message <[EMAIL PROTECTED]> "Michael Thames"
> <[EMAIL PROTECTED]> writes:
> > Dear Benjamin,
> > What a coincidence that you asked this question and Klaus wrote me
> > today! concerning the Widhalm, BTW ( my favorite lute). What scale do
you
> > have?
> > Mimmo, has some really interesting new developments in bass strings
for
> > baroque lutes, the loaded gut as well as some new overspun basses, can
wait
> > to try them soon.
> > Michael Thames
> > www.ThamesClassicalGuitars.com
> > ----- Original Message -----
> > From: "Benjamin Narvey" <[EMAIL PROTECTED]>
> > To: "Michael Thames" <[EMAIL PROTECTED]>
> > Cc: <[email protected]>; "Benjamin Narvey"
> > <[EMAIL PROTECTED]>
> > Sent: Saturday, February 26, 2005 9:58 AM
> > Subject: Re: Minikins, Catlins, Lyons, Pistoys, Gimped...
> >
> >
> > > Dear Michael,
> > >
> > > That's good to know - considering it's my lute! [I've got a Grant
> > Tomlinson
> > > based on the Widhalm (MIR 903).] Good to know!
> > >
> > > Best,
> > >
> > > Benjamin
> > >
> > > In message <[EMAIL PROTECTED]> "Michael Thames"
> > > <[EMAIL PROTECTED]> writes:
> > > > Benjamin, and all,
> > > > I'm sure you will get some advice from others concerning
> > historical
> > > > strings, on ren. and early baroque lutes.
> > > > However, I would like to throw a wrench into the works by
sharing
> > this
> > > > corespondence I recieved today from Klaus Martius, concerning late
> > Baroque
> > > > lutes. Some fairly clear evidence. Also, the fact that the Brunner
was
> > made
> > > > in 1765, the same time when first classical guitar, with single
strings
> > > > (Wound metal on silk) started to appear. It would be almost
> > unimaginable
> > > > that these late baroque lutenist's didn't use overspun basses. Also,
> > when
> > > > you take into account the different bracing and arching to
accomodate
> > this
> > > > new inovation ( wound basses)
> > > > So, all of us who use overspun basses on baroque lutes can sleep
> > easier
> > > > now, knowing that there is historical
> > > > evedence pointing to there use.
> > > >
> > > > From Klaus......
> > > > Michael,
> > > > 3) I have no observation about wound strings in the base, but I
am
> > pretty
> > > > sure they used wound strings since you find it on the pegs, where
the
> > > > woundings have left their traces pressed into the wood (how old
those
> > > > pressed in features are I dont know).
> > > >
> > > > 2) When we took off the bridge of the Widhalm (MIR 903) there was a
> > rather
> > > > clear arching a long the bridge, following the top arching
> > continu(e?)ing
> > > > the arching of the fingerboard and the upper block. It also was very
> > clear
> > > > to see it on the lower end of the lute, looking from the endclasp
along
> > with
> > > > the instrument. You are the first person to agree with this
observation
> > of
> > > > Ian Watchorn (who used to work at the GNM twenty years ago). I never
> > found
> > > > this arching again that clear. In most the cases you cant say
anything
> > about
> > > > that in terms of distortion round the bridge area
> > > > Michael Thames
> > > > www.ThamesClassicalGuitars.com
> > > > ----- Original Message -----
> > > > From: "Benjamin Narvey" <[EMAIL PROTECTED]>
> > > > To: <[email protected]>
> > > > Sent: Saturday, February 26, 2005 5:21 AM
> > > > Subject: Minikins, Catlins, Lyons, Pistoys, Gimped...
> > > >
> > > >
> > > > > Hello Lutenetters!
> > > > >
> > > > > After about one year of experimenting with gut, I've come to
realise
> > that,
> > > > > actually, I know precious little detail about the historical types
of
> > > > strings
> > > > > mentioned above, and just how they relate (and indeed, if they
do!) to
> > the
> > > > > modern gut strings with the same titles. Does anybody out there
know?
> > > > (ahem,
> > > > > ahem, Mimmo, are you still out there? Martin???)
> > > > >
> > > > > I realise the question of stringing really is the $64,000 question
(if
> > > > indeed,
> > > > > I have the sum right - the game show offered some significant
> > remuneration
> > > > at
> > > > > any rate), and that the poverty of knowledge about such historical
> > types
> > > > is
> > > > > perhaps the most pressing lacuna concerning historical performance
on
> > the
> > > > lute
> > > > > to date. I have read Mace and Varietie, amongst other historical
> > sources,
> > > > that
> > > > > deal with stringing in order to better understand what was going
on
> > then -
> > > > but
> > > > > I find the information I have been able to glean lacking in
precision.
> > > > What
> > > > > soures are today's stringmakers reading? Am I missing something?
I
> > have
> > > > also
> > > > > visited various stringmaking sites such as Gamut and Aquila - but
here
> > too
> > > > I
> > > > > find the description of historical string types to be lacking, as
too
> > is
> > > > the
> > > > > clarity between the historical types and their modern appellative
> > heirs.
> > > > >
> > > > > So, if anyone could tell me (that is, if it is known/or at least
what
> > is
> > > > > known) about these historical types and their modern equivalents
I'd
> > be
> > > > well
> > > > > pleased! I'm sure that if anyone knows, anyone will be on this
list!
> > > > >
> > > > > All best!
> > > > >
> > > > > Benjamin
> > > > >
> > > > >
> > > > >
> > > > > To get on or off this list see list information at
> > > > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> > > > >
> > > >
> > > >
> > > >
> > >
> >
> >
> >
>
