You can indeed use simple multiplication factors. They are: 0.92 for
gut / nylgut, 0.78 for fluor-carbon "Alliance". So, 1mm nylon string is
equivalent 0.92mm gut / nylgut or 0.78mm fluor-carbon.
What is important to take into account here - in fact, with any methods
of string
I do indeed.
On 30/01/2018 16:52, howard posner wrote:
On Jan 30, 2018, at 7:41 AM, Alexander Batov
<alexander.ba...@vihuelademano.com> wrote:
My only explanation for this is that lute soundboards (with roses already cut
in them), as well as separate roses of various complexity and d
The same seems also to be true for gilded roses in Italian early -
mid-17th century guitars. My only explanation for this is that lute
soundboards (with roses already cut in them), as well as separate roses
of various complexity and designs would be made in great numbers by
dedicated guilds of
Here is a table that Savarez used to supply to calculate their wound
strings; just follow the instructions at the bottom of it.
http://www.vihuelademano.com/current/pages/table-calculate-wound-savarez-strings.html
Alexander
PS: Matthew, I'm not sure the technician gave you the right formula.
Well, if one looks long enough on virtually any craft object, they will
eventually come up with some sort of idea that, in their mind, could
have inspired the maker.
In the case of Franciolini though, it's much more down-to-earth, and the
only thing that comes to mind (I came across a couple
This looks like a rather typical 'master piece' by Leopoldo Franciolini
(late-19th - early-20th century dealer and forger). Although there is a
view that he occasionally used some genuine parts from old instruments
(personally, I very much doubt he did), there is nothing original on
this one,
A bone (ivory or some other) cap on top of the bridge is merely there
for decorative purposes. It can only affect the sound if its mass is of
significant proportion to that of the bridge. In practice, though, it
is negligible.
Classical guitars have a saddle on the bridge which
On 25/07/2014 23:28, Bruno Correia wrote:
Thanks Alexander. I was curious about this little piece of bone found
in some lutes, so according to you it's only a decorative ornament. Are
there better types of woods for the bridge, denser materials maybe?
I'm not quite sure, Bruno, why
Bravo, Stuart!
On 12/01/2014 23:06, WALSH STUART wrote:
As you say:
quite heavily built and rather odd designs. Presumably the makers in
Pakistan - or wherever - are simply meeting the brief thay have been
given. Ebay 'lute' is flooded with these things: odd, bizarre, heavily
built, 'needs
Here is a more well-mannered, illustrated (scroll towards the bottom of
the page) discussion on RH nails, Mouton etc:
[1]https://www.facebook.com/photo.php?fbid99709983490349set=a.14395780
5732236.27163.13540520662type=1theaternotif_t=photo_reply
Alexander
Original
The link seems to have got corrupted. Hope it works this time:
https://www.facebook.com/photo.php?fbid=399709983490349set=a.143957805732236.27163.13540520662type=1theaternotif_t=photo_reply
On 12/12/2013 23:25, Alexander Batov wrote:
Here is a more well-mannered, illustrated (scroll
test
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The basses are either Aquila Venice or Pistoy from Dan Larson:
https://www.facebook.com/ToyohikoSatoh.lute/photos_stream
Alexander
On 12/04/2013 19:06, Martin Shepherd wrote:
Sorry I sent this to Ed, when I meant to send it to the list.
Original Message
Subject:
Hello Martyn,
I understand perfectly well that the Tenier's picture has nothing to do
with the 'Italian representation', and I'd never meant to represent it
that way. That particular set of the pictures, as well as the other one
further down the page ('anjo com viola' from Abrantes,
How do I know? Well, because it would hardly ever occur to me that the
instrument with such a distinctive body and peg head shape, number of
strings, and in the place and time to be played with a bow. But if
that's not a problem for you, make of it what you will, it's entirely
your choice. I
Surprised by your suggestion ...? I'm not quite sure how to describe it
if somebody would call a rat a guinea pig, that sort of surprise ...
Anyway, as regards to your interpretation, I've already said what I
wanted to say. I'm afraid I've got no time to carry on with it in your
vein of
Martyn, Peter et all,
First of all, this particular painting by Tibaldi (although with a
different attribution, to A.Grammatica) was already illustrated in
Meucci's article (published in 2000), so not much new here I'm afraid.
The only evidence that I'm aware of for the existence of
Martyn, Peter et all,
First of all, this particular painting by Tibaldi (although with a
different attribution, to A.Grammatica) was already illustrated in
Meucci's article (published in 2000), so not much new here I'm afraid.
The only evidence that I'm aware of for the existence of
Archicistre or Cistre theorbe, whichever suits best; certainly French, late 18th
century. Not sure that the bridge is original though; in any case it should be
movable and not as wide as it looks.
For more examples, go to: [1]http://mediatheque.cite-musique.fr/masc/
Then in the following
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On 11/07/2012 16:41, Jarosław Lipski wrote:
Add is clear but we don't know what exactly to add and what way. It
could be either upper or lower octave. If lower, it would be a very
strange setting having plain brass string fundamental and gut octave. If
upper, it could be quite difficult to
Hi Peter,
I don't thinks your maker did anything wrong, not at all. I'm guessing
of course but it looks like he simply replicated the sting spacing
(well, at least on the bridge, I'm not so sure about the nut ...) from
the bridge(s) of one of the original archlute or theorbo (a few of those
What a strange in-course spacing you've got: too little at the bridge,
too much at the nut! I suppose you can probably get away with it if you
pluck closer to the bridge but otherwise it's got to be wider there
(somewhere around 5.0 - 5.5 mm, depending on the string length), and at
around 2.5
can even make little notches on both sides of
the strip (i.e. for the strings) just to help it stay in place better.
If the stings still collide, try with a wider strip etc.
On 21/07/2011 21:11, Alexander Batov wrote:
What a strange in-course spacing you've got: too little at the bridge,
too
there) and
can make a better picture of this painting? That would be mostly
appreciated!
On 08/02/2011 23:44, Alexander Batov wrote:
Thank you, Martin.
I know perfectly well the distortion effect you are describing (both
from my own experience and old lutes) but the fluting that is caused
by paper lining
Hi Martin,
I can't really see any reasons for putting the nut in a sloped rebate,
can you? He must have got something wrong in otherwise such a perfect
painting ... :)
The other feature that I'm sure was remarked upon before is the rather
pronounced fluting of the ribs (some other
Thank you, Martin.
I know perfectly well the distortion effect you are describing (both
from my own experience and old lutes) but the fluting that is caused by
paper lining re-enforcement of the joints doesn't quite appear so
consistent and pronounced as it looks on some of the paintings. Or
Unorthodox as ever but brilliant nevertheless!
Alexander
On 01/12/2010 14:06, Roman Turovsky wrote:
It was done in order to make possible artificial harmonics and other
unusual techniques.
RT
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It is virtually identical to a 'screw and eye' mechanism of a modern
bow, mounted on a brass plate. The 'screw' is let into holes on both
ends of the plate and the 'eye' ends with a hook (to which the string is
fastened) that slides along the slot of the plate. I never bothered to
take
'Tratta' is a neck extension (i.e. same as on a theorbo) with the peg
head for additional (extended) strings at the end of it.
It is highly unlikely that 'chinara', as you put it, means anything else
in this context but chitara; just a peculiar handwriting style, that's
all. Whether they
Many good points, Stuart. I myself is a long term fan of this this
little instrument (although not so much nowadays) and have made a number
of copies of both the mandore and mandolino. I could never really see
any hard reasons to distinguish them (I'm talking about early 17th - mid
18th
a mandolino any more but it would normally be string with at
a lower tension, c. 2.3 - 2.4 kg per string.
Alexander
On 01/06/2010 21:36, Stuart Walsh wrote:
Alexander Batov wrote:
Many good points, Stuart. I myself is a long term fan of this this
little instrument (although not so much nowadays
OK, here is an idea. In the so called Swan manuscript (St-Petersburg,
the library of the academy of science) some of the lute pieces appear to
be re-adapted to play on baryton, or, indeed, on either. I don't have a
copy of this MS with me at the moment but if the memory serves me right
(I used
Absolutely! And let's not forget that perhaps most (if not, indeed, all)
'professional' lutenists from c. 1600 on also played chitarrone /
theorbo and guitar where thumb-out is simply far more superior for the
sheer flexibility of it, for a wider variety of sound dynamics and of
tone colour
I think they only appear as 'equally' unstable because they would all
need to be tuned up but ... to the rather unequal degree. Being more or
less under equal tension, thinner strings would not only stretch more
but with each decrement of falling tension (as they get thinner) there
would be a
I don't know about Italian but there is one Spanish late 16th source in
which the word 'clabacon' is used to mean 'tuning pegs' of a harp. I
suppose 'clabacon' comes from the root word 'clave' meaning 'key' (i.e.
same meaning as the Italian 'chiave') or, indeed, 'clavo' = 'nail'
whichever is
What always puzzled me in this picture is that some of the frets (which
seem to appear to be double ...?), starting from the third, look as a
kind of 'split' from the middle and down towards the edge of the neck.
The painter didn't 'confirm' this feature in the mirror reflection of
the neck,
They are as authentic as those of any other Lautenguitarre or the like,
not to say that dreary varnish on the back that has nothing to do with
Joh. Christian Hoffmann whatsoever!
I just wish somebody would buy it as firewood so that it will eventually
perish from the net ... but then you
Well the neck profile is just another feature that gives it away as a
piece of junk. Seriously, there is no point to discuss the thing any
longer, it's not worth it!
AB
Roman Turovsky wrote:
No, the neck profile on it was definitely of much older origin.
RT
To get on or off this list see
It does a bit although he would usually prefer to stick up more
'fancier' labels.
AB
Nicolás Valencia wrote:
It looks more like one of those fake lutes built by Signor Franciolini...
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Frans Van Mieris, self-portrait.
I think the painting is (was?) in the Galleria Uffizi but I might be wrong.
Alexander
Stuart Walsh wrote:
I came across this image recently - possibly a chap playing a
double-headed lute. So (?) Dutch or English? Perhaps it's from a
well-known painting? I
Hi Manolo,
Well, it's yes and no question isn't it. And, as you expanded it yourself ,
it is up to the player in the end which strings and at what tension(s)
they'd be more comfortable with to produce the sound they want. What I can
perhaps recommend is the highest limit of tension, so as
Not sure about music theory but MRI scan can perhaps reveal some clues.
Quite possibly the result will be not that different as from
MULTItimbral sound or some other 'addictions'.
I'd feel quite sceptical if any, however advanced, detection method that
is available today can pick up such
Bruno Correia wrote:
Are instruments, in general, built to work at a certain frequency?
That would be ideal but difficult to implement in reality; therefore they _happen_ to sound better at certain frequenc(ies), not obligatory those intended ...
Recently I started to tune my five course
Batov
Cc: [4]l...@cs.dartmouth.edu
Sent: Friday, March 20, 2009 8:30 AM
Subject: Re: [LUTE] Re: String depression
But the rise in pitch is the direct result of an increase in length
--- On Thu, 19/3/09, Alexander Batov
[5]alexander.ba...@vihuelademano.com wrote:
From
The rise in pitch when the string is depressed (fingered) is more to do
with the increase in its tension, not lengthening. Or rather both but
the effect from the latter is negligible.
AB
Martyn Hodgson wrote:
I am extremely sceptical about this claim, if only for the
insignificant
If you really value your lute you'd better never use ANY synthetic
glues, whether it's cyanacrylate, PVA, 'Gorilla' glue, Titebond etc. If
there is absolutely no choice but synthetic, use the last one, i.e.
Titebond. It's always best to re-glue the broken join when it is 'fresh'
and not
If only I could read your thoughts I'd never advised.
howard posner wrote:
On Mar 15, 2009, at 6:11 PM, Alexander Batov wrote:
If you really value your lute you'd better never use ANY synthetic
glues
How can I really value a lute that has a broken bass rider? Many's
the time I've
As compared to modern day's levels of mercury contamination in the air
(in particular in such big places like London where hundreds of
thousands, if not more, of strip lights and 'new generation' light bulbs
are getting replaced and simply chucked off in skips daily!) the effect
from the
Well, FoRMHI is reborn now so hopefully the discussion will carry on.
What I wonder is how the idea of coloured strings (meaning loaded, in
the context of this discussion) resides with the fact that occasionally
they do show up among the mid-range strings too (not to say on the the
first and
I was curious about that article too but I haven't read it either. He
also mentions silk stings, isn't he?
Hiding blemishes ... well, this sounds just like one more speculation to
me. Black would certainly hide blemishes best than red, so what?
AB
Monica Hall wrote:
I just wondered - do we know
It may well be exactly the case when the truth is depressing; but wouldn't
it, at the same time, leave you feeling elated?
AB
- Original Message -
From: Roman Turovsky r.turov...@verizon.net
To: Daniel Shoskes kidneykut...@gmail.com
Cc: lute lute@cs.dartmouth.edu
Sent: Sunday,
On and on and on it goes ... I'm afraid I've got no time to engage in empty
rhetoric here; if only I had been a historian ... Anyway, why not roll up
your sleeves and take up some practical steps in sorting out all those fakes
that no one knows about and then report us back on your findings,
: Roman Turovsky r.turov...@verizon.net
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu; Alexander Batov
alexander.ba...@vihuelademano.com
Sent: Saturday, February 07, 2009 2:06 PM
Subject: [LUTE] Re: was trench fill now exact replica
As I recall - Edlinger routinely manufactured conversions
Well, you see, there is only one example of surviving lute of this kind
so it would be safer to put things in singular.
However, even this 'theory' still remains one big guess. For example,
the body could have been rebuild from the original one by Tieffenbrucker
(say, because it was too large
While your 30% idea can be good enough for Blue Peter, in no way you can
spread sweeping generalisations like that on historical lutes, that's really
daft. The very idea of lute forgery in the period from, say, early 16th -
early 18th century (the 'golden era' of the lute) would not be possible
No, it hasn't! The fakes you are talking about (well, assuming I
understand you correctly, such as all those 'Franciolini's and the like)
are blooming obvious fakes and have nothing to do with 'exact replicas'.
Although, curiously enough, they were considered as such and / or
genuine originals
Alexey Archipovsky is indeed quite amazing musician. For those who
don't know there are several of his full-time videos that are available
for download directly from his web site:
http://www.arkhipovskiy.com/frame/A.html
The second (bottom) link against each of the titles means download.
It doesn't seem possible to give a direct link to the download page here
.. so it's the forth link in the second line from the top.
Alexander
Alexander Batov wrote:
Alexey Archipovsky is indeed quite amazing musician. For those who
don't know there are several of his full-time videos
Yep!
Jean-Marie Poirier wrote:
Do you mean the one written skatchat in other words... ?
;-)
Best,
Jean-Marie
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I know this but my point was to give the link to the downloand (videos)
page not to each individual one.
Thanks anyway.
Alexander
Anthony Hind wrote:
Alexander
To find the link for each video, you need to open the video page
and then above your browser, you should see something like
OK, you are the master, you know best. Perhaps you also declare as mere=20
nonsense the very material fact that Mimmo is actually able to make loa=
ded=20
strings? I myself tried his latest batch (those that he recently develope=
d)=20
at the Greenwich festival last year and they were really good
howard posner wrote:
Does dyeing? The question, if I am again unmistaken, was whether a
process used for dyeing might incidentally increase the density/
weight of a string. As far as I can see, adding anything to the
string's innards is going to increase its density, though the
Just a few words in defense of E lucevan le stelle.
I feel sorry that a number of people on this list were put off by the
download problems. I\'m sure the company will do their best to resolve
them; they are very well aware of the problem.
Well, I had some minor problems with my downloads too
On Saturday, December 15, 2007 3:19 PM Martin Eastwell [EMAIL PROTECTED]
wrote:
Subject: [LUTE] Re: RH on the bridge?
... but I am afraid that it will take a
long time to percolate into the wider lute playing world.
It will take perhaps even longer to percolate into the not so wide
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Sunday, December 09, 2007 4:19 PM
Subject: [LUTE] Re: Swanneck + loaded strings
Perhaps OT on the lute-list either way, but I mentioned Sor and Giuliani,
not baroque guitar music. Neither did I
On Sunday, December 09, 2007 3:06 PM LGS-Europe[EMAIL PROTECTED] wrote:
..
Nails/no nails have a similar effect on compositions; guitar players may
notice differences between Giuliani and Sor resulting from their use/no
use of nails. (Hmm, authentic Lobos on gut. ;-) )
It'll take one good
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Sunday, December 09, 2007 4:19 PM
Subject: [LUTE] Re: Swanneck + loaded strings
Perhaps OT on the lute-list either way, but I mentioned Sor and Giuliani,
not baroque guitar music.
OK, you can
- Original Message -
From: howard posner [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Sunday, December 09, 2007 4:07 PM
Subject: [LUTE] Re: Swanneck + loaded strings
When I met Toyohiko in 1982, he was using nylon trebles that he
twisted (with a small manual drill) to
Dear Stewart,
I don't know what Andrew's reply will be but from my own experience of making
orpharions (I've made three so far) it's really difficult to work out the exact
approximation to any fixed meantone calculations, whether it's a 1/4th, 1/6th
etc.
Frets have to be placed in some sort
In majority of cases (!) there is absolutely no need to remove soundboard in
order to re-glue the bridge; in this situation in particularly where the
bridge separation is clean. Most experienced lute makers would know how to
do this and the whole procedure takes no more than 5 minutes ... The
- Original Message -
On Tuesday, May 22, 2007 5:16 PM Ron Fletcher [EMAIL PROTECTED]
wrote:
The theory I heard once, is that the larger bout of the guitar is to
improve
the lower resonance and, the upper bout for the higher resonance.
Yes, this may indeed be a possibility. What is
- Original Message -
From: bill kilpatrick [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Cc: [EMAIL PROTECTED]
Sent: Tuesday, May 22, 2007 10:33 PM
Subject: [LUTE] Re: who invented the guitar
bet you'awl wish you had a friendly little charango
'bout now so as to perform this-here
Davide Bioccoli [EMAIL PROTECTED] wrote:
Hi to all...
Here's a nice (but short) link to Lislevand
playing De Visée:
http://www.youtube.com/watch?v=UhKuL75sLfQ
Thank you for this. Leslevand is a truly remarkable player. It's always
great to hear somebody who's got enough technical skills to
On Monday, March 19, 2007 3:53 AM Clive Titmuss Susan Adams
[EMAIL PROTECTED] wrote:
Thanks for the info, Richard.
I was particularly interested to read:
Turpentine never completely evaporates. A small percentage remains in the
varnish as an elastic resinous substance.
I'm not sure that
- Original Message -
From: Bernd Haegemann [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu; Martin Shepherd [EMAIL PROTECTED]
Sent: Friday, February 16, 2007 4:52 PM
Subject: [LUTE] Re: ebony etc
I just got an answer from a well-known Austrian gun manufacturer.
In fact the walnut was used
- Original Message -
From: Gernot Hilger [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Saturday, February 10, 2007 8:18 PM
Subject: [LUTE] Re: Bartoli lets it blast
I have uploaded (for a short time) a shortened version (copyright...)
sung by Marina Comparato. There is a
I never believed myself that MOP can be bent although I remember to have
read in one of 19th century craftsman's hand books that MOP can be soaked in
vinegar and then bent ... but I never tried this though. Could that be a
joke!?
Perhaps as you've suggested the best way would be to cut the piece
- Original Message -
From: Stuart Walsh [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Saturday, January 27, 2007 1:34 PM
Subject: [LUTE] a couple of questions about home-made bridges
... Would it be better to have a bridge with a
bigger area - for a stronger joint and more area to
There were some occasional skips in the very beginning of a few pieces.
Otherwise, the sound is quite nice (considering 24kbps bitrate). Great idea,
Davide. Looking forward for more of your shoutcasts!
Alexander
- Original Message -
From: Davide Bioccoli [EMAIL PROTECTED]
To:
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Wednesday, October 11, 2006 11:47 AM
Subject: [LUTE] Hip and Sting
... For your
rhymes to work, his name would have to be Karamoxov, or some such.
Dostoevsky wouldn't have appreciated
- Original Message -
From: [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Tuesday, September 26, 2006 5:14 PM
Subject: [LUTE] Re: Single strung archlute !!!
So what do they do use lots of drums and oriental instruments like
hammered
dulcimers etc.
Hammered dulcimer is as 'HIP'
- Original Message -
From: [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Tuesday, September 26, 2006 10:56 PM
Subject: [LUTE] Re: Single strung archlute !!!
Take it easy I don't think our little debate hear will change the course
of
this CD reception.
Good publicity is a very
- Original Message -
From: [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Tuesday, September 26, 2006 11:44 PM
Subject: [LUTE] Re: Single strung archlute !!!
But I would not listen to the Early music show next month where his live
concert will be broadcast he is planning to play
- Original Message -
From: [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Wednesday, September 27, 2006 12:16 AM
Subject: [LUTE] Re: Single strung archlute !!!
It seems he will be playing Message in a bottle especially for you.
Thanks Mark, from now on I'm all ears!
... For me,
- Original Message -
From: [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Thursday, September 21, 2006 10:34 PM
Subject: [LUTE] Hear Sting Dowland CD at amazon.de
... We are getting add requests from death metal, gothic, hip-hop, folk,
country and classical listeners. The reaction
- Original Message -
From: Arto Wikla [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Monday, September 11, 2006 7:07 PM
Subject: [LUTE] One marking in Saizenay ms, theorbo tab?
Dear collective wisdom,
in the Saizenay ms. there is is a marking in one theorbo piece that is
http://www.youtube.com/watch?v=YtbrM4OekrE
not actually a lute...but a good technique indeed!
Paolo
Talking about technique, who would venture to surpass this guy:
http://www.youtube.com/watch?v=Arn99rAAgX4search=gerardo%20nunez
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try this...
http://www.youtube.com/watch?v=AbndgwfG22kmode=relatedsearch=
Yes, it's nice! ... although more like a trick really which many would be
able to repeat with a bit of practice.
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great, but how silly the girls are to applaude during the piece and not
afterwards ;-))
BH
Quite ... if only all camera men were interested in guitar technique };
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How's this?
http://www.devilducky.com/media/31482/
Chris
Yes, he's a nice guy. Baroque guitar players who want to play alfabeto music
should probably start here :))
http://www.ukuleledisco.com/jakestrum?PHPSESSID=4d099ed6d2ae8481da37aa32f137c6eb
To get on or off this list see list
How's this?
http://www.devilducky.com/media/31482/
Chris
Yes, he's a nice guy. Baroque guitar players who want to play alfabeto music
should probably start here :))
http://www.ukuleledisco.com/jakestrum?PHPSESSID=
4d099ed6d2ae8481da37aa32f137c6eb
To get on or off this list see list
- Original Message -
From: Paul Pleijsier [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Monday, September 04, 2006 10:04 AM
Subject: [LUTE] Re: Frets
My French Sor is loaned out (never should've done that), so let's quote
from second hand (English) Sor:
I therefore require
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Monday, September 04, 2006 9:02 AM
Subject: [LUTE] Re: strings: direction of vibration?
... On the other hand it could just be another example of the
old makers working very quickly and even
, not just up and down? So hence my question.
I don't know very much either, hence so many words ...
Alexander Batov
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On Saturday, September 30, 2006 8:58 AM Paul Pleijsier wrote:
Looking back to the past I always wondered what one F. Sor was talking
about, as he seemed to advocate diminishing fret height (strange
strange..).
Would be helpful if you could give the exact quote of what this noble gentlemen
- Original Message -
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Cc: [EMAIL PROTECTED]
Sent: Sunday, August 27, 2006 11:09 AM
Subject: [LUTE] Re: strings: direction of vibration?
But if you slowly draw a bow and arrow and then release it, the arrow will
Alexander Batov wrote that the question should be:
What direction should the strings be plucked in for an optimum tone?
And what is the Just down to earth physics answer to that question?
David
If physics, or physicists for that matter, start to meddle with matters like
that we'd better
All these emails seem to misrepresent the intentions of the writers. Let's
start afresh. I am very happy with the response you gave me. It showed me
I
didn't understand all of the physics involved. Flexing of the top by means
of fluctuating energy imparted by the string to the bridge. Very
On Saturday, August 26, 2006 2:29 PM LGS-Europe wrote:
What direction should the strings get their maximum vibration for an
optimum
tone? Parallel to the sound board, perpendicular (at a right angle with
the
sound board) or something in between?
This doesn't matter. The stings stretch
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