Like.A
On Sunday, May 17, 2015, Martin Shepherd <[1][email protected]>
wrote:
A A No, it doesn't - that's part of the myth.
A A This has interesting implications for our usual thinking about
string
A A tensions in general - I think we are still using tensions
somewhat
A A higher than our 16th/17th century forebears, and it doesn't
always lead
A A to a better result:
A A When it comes to music of c.1600 and later, one obvious reason
is that
A A we tend to play over the rose rather than close to the bridge,
and
A A therefore require much higher tensions to get a suitable "feel"
to the
A A strings.
A A Another factor (which leads to a further error in the same
direction)
A A is our use of overspun strings, which are so flexible that they
require
A A higher tensions in order to give a "feel" which we can cope
with.A The
A A worst case of this is using overspun strings on lutes with
extended
A A basses (theorboes, archlutes, swan-neck lutes) where the
problems of
A A using an overspun string become really acute.
A A The old guys had none of these problems, of course.
A A M
A A On 17/05/2015 16:43, Ed Durbrow wrote:
A A On May 12, 2015, at 7:24 PM, Martin Shepherd
<[1][2][email protected]>
A A wrote:
A A A the key to which, by the way, is to use relatively high
tension for
A A A the octave string (about the same as the lower octave)
rather than
A A A the lower tension which remains common in modern times.
A A Why is this? Doesn't higher tension result in a louder tone?
A A Ed Durbrow
A A Saitama, Japan
A A [2][3]http://www.youtube.com/user/edurbrow?feature=watch
A A [3][4]https://soundcloud.com/ed-durbrow
A A [4][5]http://www9.plala.or.jp/edurbrow/
A A
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