Dear Dan
I spoke to Wolfgang Fruh, here in Paris, and he tells me he
has the New Nylgut in stock. I am sure it must be the same in the US.
$
Ed Martin spoke well of its appearence and feel, on the Baroque lute
list, as you probably saw.
$
I would have picked some up today, for a friend who is a synthetic
string specialist (having very many lutes, so strung),
and also for myself to try, out of curiosity,
but the snow in Paris has made transport impossible.
$
I need some loaded strings, anyway, to allow me to tune down my
renaissance lute to 415Hz, so that I can use a 0.46 chanterelle without
raising the tension too much.
$
Looks beautiful out of my window, but cars are sliding all over the
place. I may try tomorrow.
Regards
Anthony
---- Message d'origine ----
>De : "Daniel Winheld" <[email protected]>
>Ã : "Anthony Hind" <[email protected]>
>Objet : [LUTE] Re: loaded gut: low D 8th course update
>Date : 07/12/2010 19:51:43 CET
>Copie à : [email protected]
>
>> 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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> --
>
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References
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