Dear Martyn and Martin
It is true that Carlos' original message was slightly ambiguous,
but I have asked him to clarify this question, and he tells me that
between KFN33 et KFN91 the strings are still simplex monofilament, it
is only below the diameter of 0,95mm (KFN95) that
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
: Anthony Hind agno3ph...@yahoo.com
Objet : [LUTE] Re: loaded gut: low D 8th course update
Date : 07/12/2010 19:51:43 CET
Copie à : lute@cs.dartmouth.edu
I think stringing should be considered holistically.
On my 7C lute, I intitially had as basses, a D7 Gimped, a G6
Pistoy
Dear Dan
I think stringing should be considered holistically. I
achieved best success with the new generation Venice loaded strings
when I used Venice octaves and Venice Meanes. All these strings are
twines and so have a sympathetic upper harmonic pattern.
They are more
Anthony
__
De : Daniel Winheld dwinh...@comcast.net
A : Anthony Hind agno3ph...@yahoo.com
Cc : lute@cs.dartmouth.edu
Envoye le : Mar 7 decembre 2010, 19h 51min 43s
Objet : [LUTE] Re: loaded gut: low D 8th course
Dear Daniel and All
There is a fundamental difference between the first and the
second generation loaded guts. The first were loaded on a single high
twist core, and the second were loaded on Venice twine.
The flexibility of the Venice twine gives better harmonicity, but
Dear David
What tension are you actually using?
It is true that the new loaded strings are better at a fairly high
tension, although I have been getting away with 2K7, with 3K3 Venice
octaves. Nevertheless, a higher tension would probably be better. I
know
Great musicians often have an amazing presence on stage, but this can
be with minimal gesture. Their very presence takes complete control of
the theatrical space.
$
However, it could be argued that there are differences in the way
certain cultures approach this question. I
I have seen quite a few here in France, and owners do not seem to
complain.
However, many more do have Kinghams.
There are also those made by Victor Vorko, here in Paris, but I don't
know how good they are, possibly similar to Kinghams. They are made out
of flight ply-wood and
...@yahoo.co.uk
=C3=80 : Anthony Hind agno3ph...@yahoo.com
Objet : [LUTE] Re: tying two strings together (in process of changing
= from 407Hz to 392)?
Date : 26/11/2010 16:11:14 CET
Copie =C3=A0 : lute@cs.dartmouth.edu
Stress is independent of diameter for a given string
Hodgson hodgsonmar...@yahoo.co.uk
A : Anthony Hind agno3ph...@yahoo.com
Objet : [LUTE] Re: tying two strings together (in process of changing
from 407Hz to 392)?
Date : 26/11/2010 16:11:14 CET
Copie `a : lute@cs.dartmouth.edu
Stress is independent of diameter for a given
, George Stoppani's lang lay ropes might have a similar
but less low impedance potential).
Regards
Anthony
__
De : Guy Smith guy_m_sm...@comcast.net
A : Anthony Hind agno3ph...@yahoo.com
EnvoyA(c) le : Lun 22
Dear All
I may need to lengthen a string which does not quite reach the
peg, but goes well beyond the nut. I would like to attach it to a
slightly thinner short piece of gut to reach the peg in question. I
remember that Stephen Gottlieb had done that for several strings on
: Bruno Fournier br...@estavel.org
A : Anthony Hind agno3ph...@yahoo.com
Cc : lute@cs.dartmouth.edu
Envoye le : Lun 22 novembre 2010, 16h 37min 12s
Objet : Re: [LUTE] tying two strings of different thickness together?
I use the Square knot, but I think the Sheet Bend knot wiould
; Anthony Hind agno3ph...@yahoo.com
Envoye le : Lun 22 novembre 2010, 17h 05min 02s
Objet : Re: [LUTE] tying two strings of different thickness together?
I use a reef knot - but secured with a drop of super glue
--- On Mon, 22/11/10, Anthony Hind agno3ph...@yahoo.com wrote:
From
Dear Arto
The recent France musique prog= ramme by Miguel Yisrael,
introduced me to the works of the Austrian Lauffen= steiner (same
period as Weiss). I don't believe I had heard any of his piec= es
before. Miguel's performance of one of his sonatas, is at the end of
thi= s
Oups, sorry, I have to send this from my other mail, or it becomes
garbled, not sure why.
Dear Arto
The recent France musique programme by Miguel Yisrael, introduced
me to the works of the Austrian Lauffensteiner (same period as Weiss).
I don't believe I had heard any of his
Someone on the list had tested the previous non HD version, Ned
perhaps?, and found it useful as a teaching tool. On other music lists,
it was also praised, but its low image quality regretted, and many were
holding back for an HD version that was surely to arrive.
It is here, it
: Mon, 18 Oct 2010 05:52:37 -0700 (PDT)
Von: Christopher Wilke [1]chriswi...@yahoo.com
An: [2]wi...@cs.helsinki.fi, Anthony Hind [3]agno3ph...@yahoo.com
CC: [4]l...@cs.dartmouth.edu
Betreff: [LUTE] Re: Lute volume
Anthony,
--- On Mon, 10/18/10, Anthony Hind [5]agno3ph
I have heard exceptional projection from Jacob Heringman's playing.
The auditorium might have been well constructed acoustically, but his
playing of pieces from the Sienna lute book rang out clear and loud (60
cm lute, I think).
I remember recently hearing a renaissance music
Dear Stuart and all
But I think serial music could work on a lute or lutes. Stuart
I was thinking eactly the same thing Stuart (nice playing and
piece), while I was mulling over the previous Baroque lute thread New
music to d-minor tuning?, and trying to clarify my thoughts.
__
De : Roman Turovsky r.turov...@verizon.net
A : Stuart Walsh s.wa...@ntlworld.com; Anthony Hind
agno3ph...@yahoo.com
Cc : lute@cs.dartmouth.edu
Envoye le : Dim 17 octobre 2010, 17h 34min 47s
Objet : Re: [LUTE] Re
A very beautiful rendering, and a superb way of presenting a lute.
Best wishes
Anthony
Martin,
Aside from enjoying this video and your playing, I want to mention
how much
I'm enjoying reading through your edition of Renaissance Lute Music
from
German sources. I
Dear All
There is an interesting programme on France Musique at present, and
for 30 days, about Baroque lute music, under the form of an interview
with Miguel Yisrael-Serdoura (who recently obtained a Diapason d'or
from the french review Diapason for his recording The Court of
Dear Franc,ois
Thank you for contributing to the discussion. Perhaps you could
say what diameter you would need for the double top string on this
instrument, if it was gut, and what you actually have with Titanium
Nylon?
Would 67cm have been the historic length for such an
Martin
I can't resist, how about this to fit your bill, certainly no
cheating or pretence here?
The Orfeo, ba-rock opera - Vi ricorda
[1]http://www.youtube.com/watch?v=QKJWS9Jtbas
It was a rehearsal for a larger performance, I believe.
Apparently this reminded some on the
)
__
De : Martyn Hodgson hodgsonmar...@yahoo.co.uk
A : Edward Martin e...@gamutstrings.com; Anthony Hind
agno3ph...@yahoo.com
Cc : lute@cs.dartmouth.edu
Envoye le : Mer 6 octobre 2010, 9h 01min 43s
Objet : Re: [LUTE] Re: Carbon strings
previously thought: beyond any hair for strength and
smallness.
%
Regards
Anthony
__
De : Martyn Hodgson hodgsonmar...@yahoo.co.uk
A : Edward Martin e...@gamutstrings.com; Anthony Hind
agno3ph...@yahoo.com; Roman
A : Edward Martin e...@gamutstrings.com; Edward Mast
nedma...@aol.com; alexander voka...@verizon.net; Roman Turovsky
r.turov...@verizon.net; Anthony Hind agno3ph...@yahoo.com
Cc : lute@cs.dartmouth.edu
Envoye le : Mer 6 octobre 2010, 17h 46min 59s
Objet : Re: Re : [LUTE] Re
Dear Ed and All
For the reason you state below :
%
The density of carbon is so much
more than gut, therefore a smaller size is appropriate, around a 0.38
or so. Because of the need for a smaller diameter, the sound is
certainly more sharp sounding.
ed
%
:
From: aqu...@aquilacorde.com aqu...@aquilacorde.com
Subject: Re: [LUTE] New Nylgut?
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Anthony Hind
agno3ph...@yahoo.com
Date: Saturday, 18 September, 2010, 21:23
hi anthony and martin,
just some precisations to avoid mistakes
string.
Bring on the new strings! I never liked the white colour, either.
Best to All,
Martin
Best wishes
Anthony
On 18/09/2010 13:53, Anthony Hind wrote:
Dear Lutenists
It seems that Mimmo Peruffo of Aquila, who is by formation a
chemical engineer
Dear Lutenists
It seems that Mimmo Peruffo of Aquila, who is by formation a
chemical engineer, as well as a string maker, has been busy making new
synthetic strings.
%
Mimmo, fairly recently acquired an extrudor, as shown here:
[1]http://www.youtube.com/v/A5Yp1O3LS8U
the
question whether there should not be two types of Nylgut, one type,
fairly stiff, for top strings and the other, more supple, for Meanes.
%
Perhaps I am going too quickly, since as yet, I have not heard the new
string.
Anthony
Message d'origine
De : Anthony Hind
.
Thank you all for you help and advice.
Regards
Anthony
__
De : Ron Fletcher ron.fletc...@ntlworld.com
A : Anthony Hind agno3ph...@yahoo.com; lute@cs.dartmouth.edu
Lute@cs.dartmouth.edu
Envoye le : Mer 30 juin
Dear lutenists
Recently, I have found myself having to do some rather heavy
gardening, which appears to be almost incompatible with lute playing.
the simple fact of being physically tired is part of it, but also the
fingers seem less supple after clenching a spade or a pick-axe.
equipment. I will try
out the various hot and cold water methods, and see how that goes.
Thanks again
Anthony
__
De : jean-michel Catherinot jeanmichel.catheri...@yahoo.com
A : lute@cs.dartmouth.edu; Anthony Hind
Herbert
I think both options are possible. Several lutenists with whom
I am in contact, transferred directly from Renaissance lute to 13c
rider lute, without too much problem; but personally I chose the 11c
route, and haven't regretted it.
I think it may depend on what
I love the appearence and feel of the non-geared pegs on my Stephen
Gottlieb 11c Warwick. A number of lutenists who tried this lute told me
they were the best pegs thay had used. Nevertheless, following a three
week stay in very humid Normandy, I returned to relatively dry Paris,
!
Best wishes,
Martin
Anthony Hind wrote:
I love the appearence and feel of the non-geared pegs on my
Stephen
Gottlieb 11c Warwick. A number of lutenists who tried this lute
told me
they were the best pegs thay had used. Nevertheless, following a
three
Ned, the first French Baroque lute recording I ever heard was
Bailes' [1]Pieces de Luth (EMI Reflexe 1C 063 30 938
It has long remained one of my favourite French baroque lute
recordings. Unfortunately, his recordings on CD tended to suffer from
similar problems to those of POD,
Ned
It seems we are basically in agreement, and I know there is little
hope of a return to true analogue, so improvement in the density of
digital recording would be the goal, but this is becoming very
difficult to achieve while MP3 becomes acceptable to so many.
It is
Ned
I can't be more in agreement, particularly about the Astree LP
recordings of POD versus HM CDs.
My thoughts are that the Astree were a CNRS research project, and the
strings seemed to be part of that project.
No doubt the sound engineers wanted us to be able to hear the
Dear Stephen
To guide me I have Louis Pernot's
recording of this work, which I have often found very helpful (though
I find
his tone rather harsh--does anyone else?).
Yes, Louis Pernot, himself, seems a little disappointed in the sound
quality of the recording.
Jaroslaw
Just one question, first, did you receive my message from the lute
list, or was it quite empty.
I have been told that some people received a blank message (probably
with some relief).
Anthony,
As far as sustain is concerned I was rather talking about the
Dear Jaroslaw
What a pity I missed you. I did look out thinking I might see
you, but evidently we must have been sitting in two different areas.
PARA
Anyway, I have a strong impression from what you are writing, that
during our string talk you were very much relating to
Martyn, Sean, and Martin
nbs= p; I have double frets on my 11c lute, and have had them
for more tha= n a year.
Stephen Gottlieb mentioned burnishing the first element of th= e double
fret, so it had presumably been slightly lowered (thus similar to =
Sean's double single
Second attempt
Martyn, Sean, and Martin
I have double frets on my 11c lute, and have had them for more
than a year.
Stephen Gottlieb mentioned burnishing the first element of the double
fret, so it had presumably been slightly lowered (thus similar to
Sean's double
Hello Jaroslaw, Martin, Ed and Alexander,
Sorry for my late (and long-winded) response, I have only just
returned from the London string conference, of which more perhaps
later.
PARA
For the moment I would just like to respond to these last messages
about the sustain
suggest it all depends from what standpoint we choose to observe (be
it gut or synthetics).
Best wishes
Anthony
__
De : chriswi...@yahoo.com chriswi...@yahoo.com
A : Daniel Winheld dwinh...@comcast.net; Anthony Hind
: David van Ooijen davidvanooi...@gmail.com
A : Anthony Hind agno3ph...@yahoo.com
Cc : chriswi...@yahoo.com; lute@cs.dartmouth.edu
Envoye le : Mar 2 Fevrier 2010, 12 h 24 min 46 s
Objet : Re: [LUTE] Re: Switching between gut strings and synthetics?
On Tue, Feb 2, 2010 at 12:16 PM, Anthony
Thanks, Jaroslaw, for the chance to return to this topic, and sorry if
I have been long-winded, and turned over so much old ground.
Regards
Anthony
__
De : JarosAAaw Lipski jaroslawlip...@wp.pl
A : Anthony Hind
by the
brash microphone sound.
AS:
Regards
Anthony
AS:
__
De : anthony.h...@noos.fr anthony.h...@noos.fr
A : Anthony-Hind agno3ph...@yahoo.com
EnvoyA(c) le : Sam 30 Janvier 2010, 0 h 57 min 00 s
Objet : Tr
I have had problems with loss of paragraph and line breaks, which have
quite put me off messaging, so I will try using a S: symbol to indicate
paragraph break, and see if that works.
Oh, of course the symbol was changed into as, so I think, I will just
have to write PARA, for
Chris
I have not read such blanket performance proclamations in this
thread. I think we are all aware that each lutenist has to choose
according to their preferences, and among those must be their degree of
tolerance to tuning issues, etc..
Having said that, there is no
Very nice David! Two of the pieces, the Allemande in d-moll, and the=
Courante in d-moll
are pieces I am actually working on at the moment; so I am very happy
to h= ave your interpretation.
Of course I do have the recording by Satoh, whi= ch I have listened to
at various speeds
Yes, I have been using a metronome, and intuitively thinking of the
ornaments as divisions, but I did not think of playing the ornaments by
themselves. I will definitely give that a go.
Yes, it is often quite difficult to play at half measure, a little like
slow motion walking, but
I will send that again, via my Yahoo mail. I don't understand why the
messages from one of my mail addresses gets garbled on the LSA list
with added signs, corresponding to the line spaces (and also has a sort
of ginger-bread man emblem appears); while the other has all its
Dear Arto
I found that varnished treble gut (which I think Sofracob may
be) was more scratchy than plain or oiled gut; but also some makes are
slightly rounder sounding (Baldock Cathedral, in particular) or
brighter than others. The bright ones tend to emphasize
In this text the VA admit to the international value of this
exceptional collection.
[1]http://www.vam.ac.uk/collections/furniture/musical_instruments/histo
ry/index.html
So few historic instruments have survived that all such collections are
of immense importance both for
Hello Meanies
As I told in an earlier thread, when I received my Warwick Dm
lute from Stephen G., it happened to be in 6th comma, and sounded far
better than it should have done on French 11c music. A visiting French
Baroque specialist was impresssed enough to try it on his
, just the cosmetics of a t=
hinner
lens.
Regards,
Leonard Williams
On 11/21/09 5:08 PM, Anthony Hind agno3ph...@yahoo.com = wrote:
Dear Lutenists
I was having problems sending messages from my usu= al mail, so
I
am trying out my Yahoo Mail
Dear Arto
Congratulations on your new 11-course.
I am also new to the Baroque lute, but have had my 11c 70 cm Warwick
for just over a year, and have had time to gradually change some of my
stringing.
Unfortunately I just had a double computer failure, and I had lost much
A : Anthony Hind agno3ph...@yahoo.com
Objet : [BAROQUE-LUTE] Re: String tensions etc. in d-m-lutes, esp.
11c.?
Date : 30/11/2009 15:11:18 CET
Copie `a : wi...@cs.helsinki.fi;
baroque-l...@cs.dartmouth.edu
Hi All,
Just a comment on the low tension issue.
I
Sorry David, but what are paddle lenses? I did once see someone with
glasses that had secondary paddle? lenses that could be raised or
lowered over the primary ones.
Anthony
HOWEVER the best way is to have then make you a pair with paddle
lenses that fit into a frame. You put
Dear Lutenists
I was having problems sending messages from my usual mail, so I
am trying out my Yahoo Mail.
Rather than just making a test, I wonder whether any of you can help me
relating to suitable glasses for reading music.
I understand that the usual progressive
Dear Sean and David
I could find no explicit English reference to the type of
glasses my ophthalmologist and opticien suggesetd to me, but I suppose
these are what you are calling close to medium prescription. I have
roughly translated what I read in French.
Degressive
Dear Valery
Very interesting= way of holding the lute. Until recently, I was
using non-slip under-carpet= material, but I became aware that it was
damping some haronics, so I gave = it up. It is possible that even
contact with a leg could do something simil= ar. While this is
I am having serious computer problems, and have to send messages dir=
ectly from my server.
Thus these added signs, and even a rediculous symb= ol appearing.
Anthony
Message d'origine
De : anthony.h...@noos.fr
=C3=80 : Valery Sauvage sauvag...@orange.fr;
I tend to agree, with David. I have noticed that = within a voice
(and sometimes accross voices) the more strings of the same = type you
use, the better the string's quailities can be heard. This seems t= o
be a case of sympathetic resonance behaviour.
I have used Aquila V=
Dear All
There was a not uninteresti= ng BBC4 programme, about what makes
Strads unique, this morning at 11AM (UK= time), where I briefly heard
Georges Stoppani and Joseph Nagyvary with Tas= min Little
demonstrating.
Nothing new of course: according to JN, it is= the wood
One weekend I heard both the Julliard and the Vegh playing one of the
late quartets.
A couper le souffle!
I did prefer the lyricism of the Vegh, but both were superb.
Anthony
Le 7 oct. 09 à 13:52, Roman Turovsky a écrit :
Even better - Sandor Vegh Quartet.
RT
- Original Message -
Le 7 oct. 09 à 16:50, Daniel Winheld a écrit :
Even better - Sandor Vegh Quartet.
RT
The Vegh are superb. The only group that makes the Bartok quartets
truly enjoyable comprehensible to me. Haven't heard their
Beethoven; until then I second the Italiano.
The Borodin are very good, vibrato
Mimmo Peruffo told me he had measured the thickness of some Torres
tops and they were both incredibly thin and excessively hard.
It was very hard to bend them, although the barring was not different
from modern instruments. I think he feels they must have had some
chemical treatment, as they
Dear Ed
I am so pleased to hear your lute is back, and so we will
soon be hearing more music, but even sweeter than on your excellent
Conradi CD, if that is possible.
I am interested to hear you mention the singing quality of your
lute. This is also what struck me about my 11c
be
found in the archives.
Martyn
PS I've just googled the book and amazingly see that the work has
been scanned by Google books so you can read it online..
--- On Wed, 16/9/09, Anthony Hind anthony.h...@noos.fr wrote:
From: Anthony Hind anthony.h...@noos.fr
Subject: Re: [BAROQUE
.
Whether the lute will sound rich immediately is not known, but I
ought to discover it soon!
ed
At 04:44 AM 9/15/2009, Anthony Hind wrote:
Dear Ed
I had a look at what guitar sites said about Adirondack, and
it seems that the chief benefit of using Adirondak Spruce as a top
is its stiffness
water soluble salts react with fatty acids in the wood - I presume
this is also linked to salt loading outcomes.
In short, well worth a read if you're interested in the subject
Martyn
--- On Tue, 15/9/09, Anthony Hind anthony.h...@noos.fr wrote:
From: Anthony Hind anthony.h...@noos.fr
Subject
I will send this again, with better links
Dear Ed and Chris
I have recently been trying to use the position suggested by
Mace (little finger behind the bridge, see note 2 below) with the
hope of improving my finger technique, similar to this:
http://tinyurl.com/log972
as also shown
Dear Sean and Stuart
Le 17 août 09 à 11:17, Stuart Walsh a écrit :
Sean Smith wrote:
Not an important post but I just noticed a photo on the
Lutening site that I thought I'd share.
It's a 1529 Dutch painting by Jan Cornelisz Vermeyen that depicts
the wedding at Cana but the lute is
David
I found this:
A Thurnermeister (”Master of the. Towers”) was in charge of a small
group of musicians (”Stadtpfeiffer”) who were emplyed by a city, os
less ...
http://oj.melhus.com/projects/barokkprosjekt/raum_programnotes.pdf;
regards
Anthony
Le 22 mai 09 à 17:07, David van
If you zoom in on the gamba, the top string is broken on that too.
They must both be playing props, but it is strange to underline that.
Anthony
Le 8 mai 09 à 15:15, Martin Eastwell a écrit :
If you zoom in, it seems that the lute has one or more carefully
painted
broken strings. She's not
I don't have my references handy for this, but I believe that the
term 'cat-gut' grew out of
a commercial marque in Germany. 'Kaet' was a trade name,
apparently a successful one,
and the term 'cat gut' derives from this in the same way as
'kleenex' has.
Damian
Damian
That
When roasted crabs hiss in the bowl,
This is the gossip's bowl mentioned by Puck
And sometime lurk I in a gossip's bowl
In very likeness of a roasted crab,
And, when she drinks, against her lips I bob,
And on her withered dewlap pour the ale.
Also known as lamb's wool because it warms you up.
a cat
and its string was called cat gut. When natural gut strings made
their way into tennis racquets the 'cat gut' name stuck. So even
though natural gut tennis string is at times referred to as catgut,
cats never were a source for racquet strings.'
Andrew
On 2 Apr 2009, at 13:24, Anthony Hind wrote
Dear Alexander and all
As I have not quite had time to write up a description of
Charles Besnainou's Spiramid strings (I should be able to do so
soon). I would just like to return briefly to the etymology question,
and explain what I mean by safer or unsafe etymology:
I must
Alexander
Do you have the page? One would suppose that the first was
sheep gut, but I would like to look at that more closely.
The problem is whether a confusion had already crept in about cat,
at the time of Burwell. The author may have been translating the
French expression boyau de
Shepherd a écrit :
Dear Anthony and All,
I thought this was solved some time ago by the suggestion that
cat = cattle, and since cattle included sheep in those days,
there is no great mystery after all.
Correct me if I'm wrong...
Martin
Anthony Hind wrote:
Dear Alexander and all
As I
Thanks for your rapid reply, and the detailed information. Your
strings look excellent on that treble gamba.
http://www.globalissuesgroup.com/silkStrings/string4.jpg
I believe many gut or silk string makers (like yourself) are
musicians, who only make strings because they are not so happy
I apologize for taking so long to respond. Please take any statement,
as a question.
Dear Alexander
Thanks once more for your second text. I still haven't
quite digested all the implications of the first, but have a few
questions and remarks about the loaded silk string
Le 26 mars 09 à 10:45, Anthony Hind a écrit :
According to the loinl in your message
According to the link in you message.
Sorry, wtrange how one notices typing errors, after the message returns.
Anthony
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc
Is now available at following outlets in the US
www.amazon.com
www.cduniverse.com
www.tower.com
www.arkivmusic.com
www.hbdirect.com
www.newburycomics.com
www.kochdistribution.com
www.jr.com
www.allmusicimport.com
Anthony
Le 6 mars 09 à 12:54, Anthony Hind a écrit :
Dear Lutenists
Does the thicker fret solution usually go together with the
low tension theory? Presumably, the lower the tension the more
delicate the adjustment of pressure on the string can become?
Is it possible to compensate for difference of thickness between the
bass and its octave, by
Anthony
regards
Martyn
--- On Fri, 20/3/09, Anthony Hind anthony.h...@noos.fr wrote:
From: Anthony Hind anthony.h...@noos.fr
Subject: Re: [LUTE] Re: thick frets and thick octaves
To: damian dlugolecki dam...@teleport.com, Martyn Hodgson
hodgsonmar
Thanks to every one who has advised, and my sympathy to Howard.
Some of us seem to have bad luck with lutes, possibly because of local
climatic reasons.
Stephen has advized using hide glue, normal strength for gluing back
the decoration
so I will either take it back to him, or have it done
Dear Lutenists
While carrying out my latest octave tweak, replacing the
octaves with Venice Meanes, I left the string a little too long: once
the strings were up to tension, the thickness at the peg, pushed out
the pegbox decoration.
Here is a picture of how it was before this
.
The string length is 70cm.
Regards
Anthony
Le 15 mars 09 à 13:56, ml a écrit :
why don't you ask the builder, Anthony? He must know better, IMHO...
BTW, what string length does your beautiful intsrument have?
saludos,
Manolo Laguillo
El 15/03/2009, a las 11:54, Anthony Hind escribió:
Dear
Thank you Alexander, but is it easily reversible? I see that Acetone
can soften it.
Anthony
Le 15 mars 09 à 13:45, alexander a écrit :
Cyanoacrylate. Of good quality, better. But read on techniques, if
you never done this before.
On Sun, 15 Mar 2009 11:54:21 +0100
Anthony Hind anthony.h
+0100, Anthony Hind wrote:
Dear Lutenists
While carrying out my latest octave tweak, replacing the
octaves with Venice Meanes, I left the string a little too long: once
the strings were up to tension, the thickness at the peg, pushed out
the pegbox decoration.
Here is a picture of how
Thank you, David
I think this must be a minor repair. The decoration is a light
piece of carved holly that is sitting in the pegbox, and it doesn't
play any role.
The lute could have come without it. only one part has come unstuck.
I imagine the white glue would be ok, but what is white
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