Dear Rob, Timo and all
I have just uploaded some images of my lute. As I am doing several
things at once, I don't have time, at present to select for Ning lute;
but here is a link to those images:
http://tinyurl.com/4zmwbl
A friend who is a lute player and lute collector came round, he has a
good number of lutes to jusdeg from. He thought the "lutherie" was
superb, and the sound excellent, and very articulate,
if a little more reserved than his most "outspoken" Matthias Durvie
lute; but his lute is in synthetics and wirewounds, mine in plain gut
and loaded, so the comparison is not easy.
He played a few pieces on both, and while his Durvie had more power
and sustain, it was almost too much sustain, for certain pieces. My
lute seemed more reserved, but spoke
into the ear, and the message seemed somehow with more depth and less
flash, in short the message more poetic.
This visiting luthist said his lute was exuberant and Italian, mine
more French. I know Benjamin's Martin Haycock, which I like a lot,
and which is also very vibrant, so I will have another chance for
a comparison in a few days.
However, each lute maker has his idea of what type of sound he wants
to acheive (He/she). Martin H; has told me that he is looking for
projection, and he does achieve that.
I think Stephen is looking for something else, but he hasn't given me
what that might be in a "nut-shell".
I do think the variety that comes form lute makers striving for
different aims, and string makers also, gives us a very large sound
palette to choose from. I just think that lutists should spend more time
lute and string tasting, Choosing the most suitable instrument and
strings should be considered as an extension of the lutist's
technique, I think.
I can say that, I need to extend my technique, by any means at my
disposal.
Regards
Anthony
PS This lutist always plays with equal temp., but he didn't find any
problem with the 6th comma fretting and VT or VY tuning.
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