Dear Matthew,
Thanks for your feedback. I agree with everything you say. These
videos are usually done very quickly and without a script, so I'm bound
to forget something somewhere! Also the focus is on beginners, and of
course there are many things which experienced lutenists do
differently. I have interspersed some comments with yours:
On 23/10/2016 21:48, Matthew Daillie wrote:
On 23/10/2016 18:32, Martin Shepherd wrote:
Hi All,
A new video in the "tips" series - this time some help with tying frets:
https://youtu.be/Qs_pXOoBVLU
Best wishes,
Martin
Dear Martin,
Thanks for the video. Without wanting to question anything you
demonstrated I thought I might add a few points which I consider to be
important.
I think that it is advisable to have a set of fret gauges for a
particular instrument (often supplied by the maker) rather than just
measuring a fret to be replaced. Very often over time the diameters of
frets change considerably (the gut generally absorbs humidity and
becomes thicker) and even if one measures an old fret on the part that
was sitting on the back of the neck, it is not necessarily the correct
gauge for a replacement. It also imperative to measure thicknesses of
new fret gut with a micrometer as they rarely correspond exactly to
what the manufacturers note on the packet (especially if they have
been stored for some time). Once the new fret is in place it is always
good to check that there are no buzzes.
The list of fret sizes provided by the maker is a good starting point of
course, but often makers - particularly those who are not expert players
- give a rather arbitrary list which may not be the best solution. And
as you say, the diameter is often different from the one on the packet.
To avoid the issue of scratching a varnished neck (or a plain fruit
wood neck) with a knot, some people suggest using a slither of thin
plastic taken from an old credit card or the like which can be put
under the knot as one slides it into position. Some makers use a hard
wood for the fingerboard edging which overlaps the neck enough to be
able to place the knot on and so avoid damage to the softer wood on
the neck. I have also noticed that it is advisable to put the running
end of the fret through the knot in such a way as it comes out
parallel to the burnt end. In this way one makes sure the knot lies
flat and does not gouge a ridge into the neck.
Credit card would be too thick. The fingerboard should be hard enough
at the edge, as you say, hence the importance of having the knot right
at the top. You're absolutely right about the direction of the running
end, but this is hard to describe and/or demonstrate.
I try to place the new fret as close as possible to the fret below it
(or the nut in the case of the first fret) so that when put into
position it becomes tight enough (you suggest one centimetre lower
than its final position which doesn't seem quite enough to me).
I find this method of tying allows me to get frets very tight without
having to pull them a long distance up the taper of the neck. In fact
with a colour-varnished neck I have found it useful to tie them in their
correct position, helped by the fact that the varnish tends to hold them
tighter than a smooth ebony-veneered neck.
I have never used a soldering iron to burn the ends of fret gut but
find that good quality matches or a lighter with an adjustable flame
are perfectly safe as long as one holds the neck of the lute
horizontally so that the flame is above the part of the fret one
wishes to singe and one proceeds by gentle touches using the base of
the flame.
I often use matches - but I thought it was good to recommend a safer
alternative for general consumption.
One last thing. When passing the fret gut under the strings, it's good
to check that no strings have been missed out before tying the knot.
There is nothing more annoying than starting to move a fret into
position and realising that a string has escaped your attention and is
above the fret rather than below it!
Yep - I thought I mentioned that in the video - but maybe it was in an
out-take.
All the best,
Martin
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