>  I think stringing should be considered "holistically".
>  On my 7C lute, I intitially had as basses, a D7 Gimped, a G6 Pistoy,
>    and as Meanes C5 unisson "Lyons", and F4 High twist.
>    This stringing did work, all the strings were good in their own right,
    but didn't quite come together tonally.
>  I achieved best success with the new generation Venice loaded strings
>    when I used Venice octaves and Venice Meanes. All these strings are
>    twines and so have a sympathetic upper harmonic pattern.
>    They are more supple than a tress, like a Pistoy, which would show a
>    greater difference in upper harmonic pattern

We're not only on the same page we are almost completing each other's 
thoughts, and have had nearly identical experiences. I have also 
strung instruments with excellent, but disparate string types that 
resulted in the whole being less than the sum of its parts.

>In particular, I was not happy about the tonal difference between the
>    Gimped Pistoy, which is bright, and the simple Pistoy tress which was
    relatively dull....   ... A good first generation loaded string might have a
    harmonic pattern more in sympathy with your Pistoy.

That is exactly what happened yesterday. While I thought initially 
that my 7-F with the embedded wire gimp was transitioning nicely from 
the old loaded D-8 to the PIstoy 6, the opposite was happening- it 
was the old loaded string almost transitioning the bright gimp to the 
Pistoy 6. When I realized this, I was fortunate enough to find 
another old Loaded gut, 1.33 mm physical diameter for the 7-F. Now 
only two string types instead of three to coordinate with each other, 
no more random disparities. I am sure now that this lute is right 
where I want it, string wise. (But who knows- call me back in a 
month, or a year)

>  In that case, it seems quite possible that a first generation, 
>stiffer loaded string might show a closer harmonic pattern and blend 
>better with the Pistoy.

Yes, it does indeed.

>    Playing technique also evolves in relation to a particular string type
>    and tension, so a change from an old generation loaded to a new one
>    might not bring an intrinsic improvement, without adapting the
>    stringing, the playing, and possibly also tweaking the nut or the
>    bridge.

That's why I will be ordering the new strings only for the Baroque 
lute. As to playing the 8 course lute, I have switched the 7 & 8 
positions for ease of fingering the low D, making the transition to 
the Pistoy 6 even more critical. It also made the not-quite blending 
7F sound worse with the gimp, so finding another useable old loaded 
gut fundamental was very good luck. (As we all know, the reversed 7 & 
8 changes one's lute from the less historically popular transitional 
8 course to a "Double 7", best of both types.)

>    Later I replaced G6 also with a Venice, which was a little brighter
>    than the Pistoy, but I still felt it didn't quite go with the gimped
>    string.

Looks like these gimps are getting marginalised; but you had to 
establish proper homogeneity in any case.

>    There was however, a difficulty in keeping up the quality.
>    Mimmo had not yet rediscovered some new antique ingredients, which
>    allowed a smoother spread of the loading. So many more of the first
>    generation strings were fairly false; so you are definitely lucky if
>    you have one that is very true.

I consider myself lucky to still have two that work. Used to be three 
or four- and you have no idea how many false ones had to be thrown 
out, and still there are about eight or so ragged survivors hiding in 
my "gutpile" (old peanut brittle box, top shelf of the coat closet) 
whose value I'm not sure of.

>    "The proof of the pudding ...", as they say, so what is important is
>    that you have achieved a better balance.
>    Congratulations!
>    Anthony

This better balance applies to any string type; for my all-synthetic 
archlute to work I used nylon 1 & 2, carbon 3, 4, and 5, KFG 6 - 12, 
and (compromise!) gimp 13 and 14. In its way, this is also a 
well-blended sounding instrument. The KFG's are vastly better 
sounding than the copper overspuns. Possibly nylgut might work, but I 
have come to dislike them, and cannot abide the color. Maybe if the 
new ones ever hit the market I will want to try them. Do you have any 
news on them?

Congrats to you too.

Dan










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