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
> > >
> >
> >
> >
>
