I haven't come across that formula David. Can you please point me to a source for the recipe? It could save a lot of time and money!
Thanks, Bill From: David Tayler <[email protected]> To: William Samson <[email protected]> Sent: Wednesday, 25 April 2012, 18:57 Subject: Re: [LUTE] Re: What makes a good lute? Simple geometry. It's all been worked out, unlike forty years ago when we worked it out. No different from buying clothes. dt At 11:55 PM 4/9/2012, you wrote: A luthier would need a formula relating hand dimensions (hand span, fistmele and so on) in order to build a lute that's exactly the right size for a particular player. Without such a formula, all the luthier gets is a headache when asked to build a lute that's the right size for a particular player. If it's down to the player to decide what spacings they need, how will they determine that without having a selection of instruments to try first? Not as easy as in the time of Laux Maler as David Van Edwards so amusingly pointed out! I don't see how making exact copies of original instruments actually helps here - There are variations in these too - Compare, for example the well-known 7c Hieber with the 7c Venere of about the same size (58/59cm?). The Hieber has a wide string spacing at the nut end, and the Venere is almost impossibly narrow here for most players I know. Otherwise, there's not a lot of difference in dimensions - bridge spacing, scale, body dimensions . . . I sympathise with your point of view, but can't see how these objectives can be achieved in practice without buying, trying and then rejecting a goodish number of instruments. Bill From: David Tayler <[email protected]> To: lute <[email protected]> Sent: Monday, 9 April 2012, 22:27 Subject: [LUTE] Re: What makes a good lute? Ninety percent of the lutes I see are set up wrong and are also the wrong size for the person playing. I doubt that this will change anytime soon: once someone buys the wrong size instrument, they either keep it or trade it in for another one that is the wrong size. So I would rate size and setup as the number one issue, based on my experience that the player will have to go through a very long retraining period after learning on a lute that is the wrong size. Why pedal backwards? Of the setup issues, the number one issue is the span and spacing. Without the right span and spacing, which reconciles two numbers, the size of the hand (and fingers) and the rules which govern the span and spacing of strings. Without these two numbers in balance, it is impossible, or very difficult to make a good sound. When these numbers are in balance, it is easy to make a good sound; in fact, it is difficult to make a bad sound. No one would wear size 4 or size 11 shoes if they are a size 9, and yet, that is precisely what happens. Sadly, people are rarely fitted to the lute, even though the lute is from the age of "custom made". Equally sadly, most people do not understand the basic physics of twang, thwack and pluck, which involves some simple experiments with a special bridge and nut that are universally adjustable. Generally speaking, and I mean VERY generally, the plucking-point spacing is wrong, that is, the place where you actually pluck the string, and it is almost always too narrow. However, it is the ratio of the bridge to nut, factoring the string length, and figured at YOUR plucking point that gives numbers for the "thou shalt not buzz" dimensions. Empirically, anyone can see that the spacing is different at any point on the string. A player with years of experience can give you some advice, after watching you play, about the setup. You may have to compromise somewhat on the overall span, or use a sliding scale so that the treble has more room. After these two biggies, there is a seemingly endless list of features, all of which are important. And here you will need some experience to guide you. However, I would add that most lutes made nowadays are not copies of originals. They are rescaled, resized, rebarred, rebridged, reglued, revarnished. Available is everything: everything-except-original. Now, you may want that. Personally, I think everyone needs a reality check instrument that is a copy of an original. Otherwise, it is just a guitar, basically, with wonky pegs. Since you asked about sound in your list, it is no fun playing a monochromatic instrument of any kind, but that is just a personal preference. I would say most lutes made today lean towards monochromatic. Main thing is to make a good sound. If you aren't making a beautiful sound, it isn't you: your lute is set up wrong, is the wrong size, or both. Lute players may think that their feet are the wrong size, but when you think about it, this cannot be the case. Everyone is different, and the instrument must fit. My teacher told me that you don't choose a lute, it chooses you. Maybe that is true. dt __________________________________________________________________ From: William Samson <[1][email protected] > To: Lute List <[2][email protected] > Sent: Sat, April 7, 2012 6:25:47 AM Subject: [LUTE] What makes a good lute? I haven't really got much to add to the subject line. I've been chatting with Rob about this and various points have emerged I'd be interested in hearing what priorities you might put on the various characteristics of a lute in deciding if it's 'good' or otherwise. The kinds of things that have come up are (in no particular order): * playability (action, string spacing etc) * sound (which I can't easily define) * authenticity of design/construction * materials used * quality of craftsmanship * reputation of maker Of course these are rather broad headings and might easily be refined, clarified or broken down. Thoughts, please? Bill -- To get on or off this list see list information at [1][3] http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [4]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html -- References 1. mailto:[email protected] 2. mailto:[email protected] 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
