Hi Martin and Chris,
So we're all going through a long on-again, off-again experiment with
doubled frets. Interesting. I'd like to use doubled frets if that's
what was done and, as usual, I expect the advantages aren't
immediately obvious. For now I don't know when I'll come back to them
and there are plusses though hard to define --especially at 5:30 am.
Yes, I've never understood what makes the paintings' frets look
smaller in diameter. I used to think it was the painters' whim but
it's too prevalent to ignore. Something doesn't add up and I don't
know what it is.
Chris:
"Once again I'll jump into hot water and point out that the old gut
material had quite different physical properties than our modern
reconstructions."
Yes, I agree here (and this isn't meant to be any kind of slight to
our stringmakers and their extensive R&D).
Sean
On Feb 19, 2010, at 12:04 AM, Martin Shepherd wrote:
Hi Sean and all,
Mindful of the fact that HIP frets should be double, in the late
1980s I had double frets on one of my lutes for some time. I found
that I could flatten the strand nearest the nut slightly by rubbing
it with my thumbnail and this speeded up the process of wearing them
in. I had no trouble with unclear notes.
I can't remember when or why, but eventually I went back to single
frets. Then there was a discussion on this list about the virtues
of double frets, including the idea that they gave a clearer and/or
more sustained sound. So I was inspired to try them again (same
lute) and had some trouble getting clear notes - only in one or two
places, but it was enough to put me off. Perhaps I should have used
Sean's double-single method (non-HIP) which allows you to have a
thinner fret on the nut side and would also make it easier to
separate them if you wanted to go in for a bit of tastino!
I was also attracted to the idea that double frets slip less and
might be more secure in terms of strings slipping sideways, because
of the greater surface area in contact with the string. This was an
especially attractive idea for playing slurred passages on the
theorbo. When I refret the theorbo, I think I'll have to try it.
It's also interesting that most players nowadays use huge frets
(single) while the old guys (the Ambassadors painting, Dowland) used
very thin (double) frets. Is there a connection?
Best wishes,
Martin
Sean Smith wrote:
Well, Dan, there's that special tomato knot that defies
comprehension standing between me and HIP in this case. Can you
imagine doing that w/ those monster 1mm 1st and 2nd frets? Brrr.
I don't know if anyone answered the question on how often to change
frets but I remember Jacob Herringmann saying he swapped them all
out before concerts. A lot of work tho I'm sure it gets easier as
time goes by. He uses singles as far as I've ever seen. But there
is nothing quite as clean-sounding as a newly fretted instrument.
Grant Tomlinson taught that we should have a good cradle for the
lute to work with changing frets and expect to take your time. Then
he mentioned Jacob did it all sitting on the couch, lickety split.
Me, I'm an all afternoon kinda guy.
Even new doubled frets at their best never quite sounded as clean
as singles --just my opinion and I'm sure there are pros who really
have it down. Personally, I think the extended surface absorbs the
high frequencies. Same goes for old single frets.
Sean
On Feb 18, 2010, at 12:13 PM, Daniel Winheld wrote:
Do it twice!
HEY! It's the SINGLE frets that ain't HIP - look at that damn
picture
again- (you know, the one with the boreless Oboe Muto) Is there any
known historical information about single frets? Maybe Mace
mentioned
them? Don't want to make trouble- just askin'....
Dan
Honestly, it works though it doesn't seem HIP whatsoever. The
advantage being you only need to replace one half (always take off
the more worn fret and replace it w/ a new one on the bridge side).
Anyway, I've done the double fret experiment for a few years on my
main ax. It has worked, I've learned a few things but I'm ready to
come back to the single fret club.
Sean
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