[LUTE] original sound with original pitch

[Dieter Schmidt]

   I just heard a concert with Corelli Sonatas. I was surprised that in
   the continuo group there was a lute player with a (swanneck) baroque
   lute. When the concert was finished I went to ask him. That ist what he
   told me:
   He takes the baroque lute because of the pitch (415 Hz ) they are
   playing. With this high pitch he doesn’t like the sound of an archlute.
   For that reason he plays his part on a baroque lute.The original
   Corelli musicians were using a pitch 2 halftones lower.

   Now I am wondering if it wasn’t better to play the sonatas in the
   original pitch to hear the intended sound.

   Many thanks for helping in my considerations
   Dieter


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[LUTE] Conradi ornaments

[Dieter Schmidt]

   Dear collected wisdom,

   I want to play some Johann Gottlieb Conradi music. Has onyone an idea
   where to find hints how to play the ornaments? It seems to me that
   Conradi used a "private" mode to sign them.

   Thanks
   Dieter


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[LUTE] Re: KF vs. new Aquila bass strings

[Dieter Schmidt]

   I normally use KF strings on the swan neck lute and copper wound gut
   strings (Kürschner) on the short lutes.
   The other day I had to replace one of the copper gut strings using a
   KF. This allowed me to compare the sustain (covering all other strings)
   - there was no difference. Comparing the sound I note the copper gut
   strings sound much more "black" compared to the KF. Having no
   comparation with "real heavy gut strings" to me the copper gut basses
   sound better.

   Best
   Dieter

   Gesendet: Dienstag, 29. August 2017 um 14:25 Uhr
   Von: "George Arndt" 
   An: "Matthew Daillie" , "Dan Winheld"
   
   Cc: "lutelist Net" 
   Betreff: [LUTE] Re: KF vs. new Aquila bass strings
   Hello fellow lute players:
   I have been using salt water monofilament fishing line on my lutes for
   the past three years with satisfactory results. The only exception
   being the 7th course on Renaissance lutes and the diapasons on my
   Baroque lute that are wound with metal. I matched the diameter and
   length of the original strings with fishing line. If a string was
   easily broken I use a larger diameter to replace it. If peg friction
   was a inadequate, I decrease string diameter and replace that string.
   If a string slapped the fingerboard I used a larger diameter when
   I replace it. One nice advantage is mono-filament strings may be
   pigmented and this helped me as I was learning to play. After three
   years I am satisfied with the result. It cost $120 for a lifetime
   supply of strings for my seven lutes.
   Thanks for the opportunity to add my comments.
   George
   __
   From: lute-...@cs.dartmouth.edu  on behalf
   of Matthew Daillie 
   Sent: Tuesday, August 29, 2017 3:01 AM
   To: Dan Winheld
   Cc: lutelist Net
   Subject: [LUTE] Re: KF vs. new Aquila bass strings
   Unfortunately there have been serious issues with the new loaded nylgut
   strings.
   Availability has been erratic ( I believe that there have only been two
   batches so far, the second stiffer than the first) with promises of
   delivery of certain references delayed by several months.
   Some gauges break without warning between the nut and the peg, perhaps
   due to the fact that the surface is slightly rough and does not fare
   well on the passage in the grove over the nut.
   Strings are often false, especially when being stopped going up the
   fingerboard but also when used as diapasons; their inherent
   stretchiness gives them great amplitude so when they are plucked they
   can not only hit against the fingerboard but also against the string of
   a neighbouring course!
   I am sorry to be so negative regarding these strings. I had very high
   hopes and if Mimmo manages to get the formula right and overcome
   production issues, then they will probably become a lot of players'
   number one choice but we are certainly not there yet. Loaded nylgut
   strings are not inexpensive and it is frustrating to spend considerable
   sums of money before being forced to conclude that they are still at
   the experimental stage and that we are acting as guinea pigs.
   I use PVF strings on the 5th courses of renaissance lutes and as
   diapasons on theorbos. They work well and are incredibly long lasting.
   I have seen and heard them used very successfully on 6th, 7th and 8th
   courses of renaissance lutes. Tying them around the bridge is tricky
   (some luthiers such as Martin Shepherd suggest thinning the ends). I
   have no experience of using them on baroque lutes but I would have
   thought that the diameters for the lower courses would have been
   prohibitive.
   Best,
   Matthew
   > On Aug 29, 2017, at 1:26, Dan Winheld  wrote:
   >
   > A question for those of you who have tried, used, and been satisfied
   with the Savarez KF (originally for harp) bass strings- the gut like
   one starting at .90 or .95 mm thickness (losing memory here) and have
   also tried Mimmo Peruffo's new basses- How do they compare? I am mostly
   quite happy with the Savarez KF- VERY satisfied with the long single
   basses on my archlute- but on my 10 course & 13 course bass rider
   style Baroque lute the very lowest courses could use a little help; but
   if I change them I would want to go all the way to the 6th course.
   >
   > One draw back to the KF is the stiffness, they can be very annoying
   to wrestle through and around the bridge holes, worse as they get
   thicker. I have heard that Peruffo's strings were actually too flexible
   at first and that he had to "dial them back" a bit so that they would
   not fret flat going up the fingerboard. Very counter intuitive to me
   after years of thick basses fretting sharp!
   >
   > Thanks for any information. Dan
   >
   >
   >
   > To get on 

[LUTE] Converts

[Dieter Schmidt]

   Dear collected wisdom,

   I have a lute, which is rebuilt the model MI54 in the Germanic National
   Museum.

   http://objektkatalog.gnm.de/objekt/MI54

   This is a shell and top of Laux Maler converted into a baroque lute.
   The instrument has the possibilities to play a baroque lute (13 course
   swan neck), but the sound is more of a renaissance lute (a bit dry).
   My question is whether this is generally the case. Do lutes that are
   converted from a renaissance lute to a baroque one (only changed the
   neck) sound like renaissance lutes and only those instruments that are
   designed as baroque lutes have the typical sound (resonance)?

   Thank you and best regards
   Dieter


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[LUTE] Re: Converts

[Dieter Schmidt]

   h,
   so you think that the barring was changed - could they have conserved
   the top? The top seems original to me because of the rose which I saw
   too in a copy of the 6 course Laux Maler lute and in a baroque lute
   that was made for M. Yisrael - who observes:

This instrument is absolutely different from any other lute I've
   played,

   What I know is that renaissance lutes were converted conserving the
   shell, sometimes trunkating it.

   I still wonder if a converted lute sounds like a baroque one that was
   newly designed. In my lute the basses are less powerfull and it has
   less resonances (what avoids problems).

   best
   Dieter
   Gesendet: Freitag, 27. Juni 2014 um 14:39 Uhr
   Von: r.turov...@gmail.com r.turov...@gmail.com
   An: Matthew Daillie dail...@club-internet.fr, Dieter Schmidt
   dieter.schmidt...@gmx.net
   Cc: Lauten Maillist lute@cs.dartmouth.edu
   Betreff: [LUTE] Re: Converts
   the museum photos show full-fledged baroque fan-barring.
   RT
   On 6/27/2014 7:51 AM, Matthew Daillie wrote:
In my opinion, if only the neck was changed, then the conversion is
   not complete. Generally baroque barring would be quite different, to
   what degree depending to an extent on what the lute was converted from
   (early 6-course or late 10-course?).
   
Best
   
Matthew
   
   
On 27 juin 2014, at 11:00, Dieter Schmidt dieter.schmidt...@gmx.net
   wrote:
   
Dear collected wisdom,
   
I have a lute, which is rebuilt the model MI54 in the Germanic
   National
Museum.
   
[1]http://objektkatalog.gnm.de/objekt/MI54
   
This is a shell and top of Laux Maler converted into a baroque lute.
The instrument has the possibilities to play a baroque lute (13
   course
swan neck), but the sound is more of a renaissance lute (a bit
   dry).
My question is whether this is generally the case. Do lutes that are
converted from a renaissance lute to a baroque one (only changed the
neck) sound like renaissance lutes and only those instruments that
   are
designed as baroque lutes have the typical sound (resonance)?
   
Thank you and best regards
Dieter
   
   
To get on or off this list see list information at
[2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   

References

   1. http://objektkatalog.gnm.de/objekt/MI54
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Converts

[Dieter Schmidt]

   My lute was made by Jiri Cepelak in 2002 (as I bought second hand I had
   no contact with Cepelak) - here you can see it:

   https://dl.dropboxusercontent.com/u/9512640/LauxMaler_Cepelak.jpg

   https://dl.dropboxusercontent.com/u/9512640/LauxMahler_Rosette.jpg

   best
   Dieter



   Gesendet: Freitag, 27. Juni 2014 um 16:39 Uhr
   Von: r.turov...@gmail.com r.turov...@gmail.com
   An: Dieter Schmidt dieter.schmidt...@gmx.net, Lauten Maillist
   lute@cs.dartmouth.edu
   Betreff: Re: [LUTE] Re: Converts
   there are too many aspects to consider.
   when was yours made, and by who?
   RT
   On 6/27/2014 10:34 AM, Dieter Schmidt wrote:
h,
so you think that the barring was changed - could they have conserved
the top? The top seems original to me because of the rose which I saw
too in a copy of the 6 course Laux Maler lute and in a baroque lute
that was made for M. Yisrael - who observes:
   
 This instrument is absolutely different from any other lute I've
played,
   
What I know is that renaissance lutes were converted conserving the
shell, sometimes trunkating it.
   
I still wonder if a converted lute sounds like a baroque one that was
newly designed. In my lute the basses are less powerfull and it has
less resonances (what avoids problems).
   
best
Dieter
Gesendet: Freitag, 27. Juni 2014 um 14:39 Uhr
Von: r.turov...@gmail.com r.turov...@gmail.com
An: Matthew Daillie dail...@club-internet.fr, Dieter Schmidt
dieter.schmidt...@gmx.net
Cc: Lauten Maillist lute@cs.dartmouth.edu
Betreff: [LUTE] Re: Converts
the museum photos show full-fledged baroque fan-barring.
RT
On 6/27/2014 7:51 AM, Matthew Daillie wrote:
 In my opinion, if only the neck was changed, then the conversion is
not complete. Generally baroque barring would be quite different, to
what degree depending to an extent on what the lute was converted
   from
(early 6-course or late 10-course?).

 Best

 Matthew


 On 27 juin 2014, at 11:00, Dieter Schmidt
   dieter.schmidt...@gmx.net
wrote:

 Dear collected wisdom,

 I have a lute, which is rebuilt the model MI54 in the Germanic
National
 Museum.

 [1][1]http://objektkatalog.gnm.de/objekt/MI54

 This is a shell and top of Laux Maler converted into a baroque
   lute.
 The instrument has the possibilities to play a baroque lute (13
course
 swan neck), but the sound is more of a renaissance lute (a bit
dry).
 My question is whether this is generally the case. Do lutes that
   are
 converted from a renaissance lute to a baroque one (only changed
   the
 neck) sound like renaissance lutes and only those instruments that
are
 designed as baroque lutes have the typical sound (resonance)?

 Thank you and best regards
 Dieter


 To get on or off this list see list information at
 [2][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   
References
   
1. [3]http://objektkatalog.gnm.de/objekt/MI54
2. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   

References

   1. http://objektkatalog.gnm.de/objekt/MI54
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   3. http://objektkatalog.gnm.de/objekt/MI54
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Question on string tension

[Dieter Schmidt]

   Have a look at this:

   http://hyperphysics.phy-astr.gsu.edu/hbase/waves/string.html

   regards
   Dieter


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[LUTE] Re: string tension

[Dieter Schmidt]

   Hi,

   changing the tension of the string you change the velocity of the wave
   on it. Given the fixed wavelength the result is another frequency:
   velocity = wavelength x frequency
   The velocity of the wave in relation to the tension: c^2 ~ tension
   Result: more tension - little changes give more result than on a
   string with less tension

   best regards
   Dieter


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[LUTE] Re: string tension

[Dieter Schmidt]

   in other words:

   a string with lower tension is easier to tune

   Dieter

   David wrote:
   This implies that increasing the tension would
   make the string be less sensitive to changes if frequency due to change
   in tension - i.e. easier to tune.


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[LUTE] Re: string tension

[Dieter Schmidt]

   To get a tone on a string there is a standing wave whose wavelenth
   (half of the wavelength) is fixed by the distance between saddle and
   bridge. The string's tension, weight and the wavelength give the
   frequency. To tune the string you change the tension until you reach
   the desired tuning.

   Twisting the string you shorten it. This augments the weight while
   doing so before the string is tuned. After having tuned the string
   twisting it augments the tension because the string gets shorter.

   Regards
   Dieter


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