Dan, I suppose we all come to similar conclusions, if not to identical
solutions, when we play about with stringing to achieve the best out of
our instruments; and yes, I am sure the reasoning remains the same
whatever string type, we consider.
I believe the New Nylgut is gradually becoming available. I had heard
some might be available from Bridgewood and Nietzert (but I haven't
asked them if they are actually there in stock).
I will ask Wolfgang Fruh here in Paris, when I go there tomorrow.
He deals here in Aquila strings, loaded through to nylgut.
Best wishes
Anthony
__________________________________________________________________
De : Daniel Winheld <[email protected]>
A : Anthony Hind <[email protected]>
Cc : [email protected]
Envoye le : Mar 7 decembre 2010, 19h 51min 43s
Objet : [LUTE] Re: loaded gut: low D 8th course update
> 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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