Dear Francesco and All:
Isn't there an inventory of the Maler workshop on his death
indicating several hundred lutes in various stages of
construction? That would indicate a lute every few days.
Perhaps his was not a typical operation and probably employed
many masters and apprentices,
Francesco Tribioli wrote:
When I went to collect the new marvelous 6c that Martin Shepherd
built me, he showed me that the two main chains under a Renaissance top
where not parallel but slightly angled. I think that this was done to
counterbalance the effect of reinforcement of the
- 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
... On the other hand it could just be another example of the
old makers working very quickly and even sloppily, taking
Just a curiosity... Has anyone an idea of how big might have been the
production rate of a lute builder workshop? How much was the lute diffused
in that time population? I
Dear Francesco and All:
Isn't there an inventory of the Maler workshop on his death indicating
several hundred lutes in various stages of construction? That would indicate a
lute
every few days. Perhaps his was not a typical operation and probably employed
many masters and apprentices, but it
.. after the 'waves of vibration' seem to have subsided ...
On Saturday, August 26, 2006 8:06 PM David van Ooijen wrote:
Beliefs and convictions ...? Just down to earth physics.
... In my simplified way of looking at the physics'
world I should think the sound board must vibrate as much as
: Sunday, September 03, 2006 9:13 PM
Subject: Re: [LUTE] Re: strings: direction of vibration?
... after the 'waves of vibration' seem to have subsided ...
On Saturday, August 26, 2006 8:06 PM David van Ooijen wrote:
Beliefs and convictions ...? Just down to earth physics.
... In my simplified
I feel hesitant to bring this up, because on the one hand I thought it was
more or less evident and on the other hand I couldn't care less about how
you make your own beautiful tone as long as you're happy with it. But it
came up in a conversation, and it turned out opinions were not as
I made an instrument from an oatmeal box, a rubber band, and tape.
The sound was indeed much louder when the string travels perpedicular to
the
soundboard (especially the lower harmonics).
I repeated the experiment with a clothepin bridge (about 18 mm high)
between the string and the
vibrate in front of the monitor. Pluck, pull, strike
or otherwise
make the string vibrate. Anyone able to get it to
vibrate in a
parallel plane to the soundboard?
Stay with it, we just agreed that it's the initial direction of plucking
that does influence the attack of the sound. The best
could i suggest that a pick be used as its lifting of
the string to produce an up and down vibration
wouldn't be that much different than the back and
forth vibration produced by pushing the string.
plucking (up) and pushing (down) with the finger are
distinctly different functions - yielding
The following link to the proceedings of a 1983 conference of Swedish guitar
makers is quite interesting and there is a reference to the acoustic
differences between plucking 'vertically' or 'in parallel' to the soundboard. A
vertical 'pluck' producing a strong ,but short, tone and a parallel
Thank you, Charles, I'll shut up for a while and read.
David
- Original Message -
From: Charles Browne [EMAIL PROTECTED]
To: bill kilpatrick [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Cc: LGS-Europe [EMAIL PROTECTED]
Sent: Monday, August 28, 2006 12:42 PM
Subject: RE: [LUTE] Re: strings
As a habitual lurker on this list I have read this exchange with
interest and it sent me to my copy of the sixth edition (1962) of the
classic book The Physics of Music by Alexander Wood. This produced
an observation that is not directly relevant, but perhaps interesting
nevertheless, that
Here is a little experiment you can all do right now which will help
you to see the vibration of a string. Pick up a lute or guitar and
hold it in front of a computer monitor so that you can see the string
vibrate in front of the monitor. Pluck, pull, strike or otherwise
make the string
you know ... that's a very intelligent observation.
if you stretch a jumping rope taught and then pluck it
or pull it or otherwise make contact with it, no
matter what may happen initally, the rope begins to
move in a circular pattern ...
is this some of that there inscrutable eastern wisdom
But if you slowly draw a bow and arrow and then release it, the arrow will
travel just as fast as if you drew it quickly. The initial addressing of the
string can be slow, but the stroke itself must be quick, like a mousetrap, or
touching a hot stove, as one teacher once put it. Beginning
- 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
Only a bowed instrument has ANY control over the direction that a free
string will vibrate.
An optimist says the glass is half full, a pessimist says the glass is half
empty, an engineer says the container is improperly sized.
Engineering in Atlanta
Lou Aull
--
To get on or off this list
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
What direction should the strings be plucked in for an optimum tone?
physics one. And if my answer doesn't satisfy you, I do apologise.
Dear Alexander
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
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 26 August 2006 15:29, you wrote:
I feel hesitant to bring this up, because on the one hand I thought it was
more or less evident and on the other hand I couldn't care less about how
you make your own beautiful tone as long as you're happy with it. But it
came up in a conversation,
This is pretty certainly true and I'd be really surprised if not true on
lute too... but I think the original question was basically about
religious conviction, not science :o)
What direction should the strings get their maximum vibration for an
optimum
tone?
For a guitar (sorry to mention
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
My understanding is that double, rather than single, stringing is
likely to have an effect on how a course will vibrate. I say this
having read, somewhere, I can't remember where, a description of the
physics of the sound of the piano.
Here is the piano logic applied to the lute:
When you
A. Batov wrote:
This doesn't matter. The stings stretch (points of max deviation) and
relax
(when they come through the point of 'no vibration' - straight line) and
thus transmit the vibration energy to the bridge, so that it moves in a
'rocking' way of motion (not up and down)
When I move
When I move a string sideways, there is amost NO sound (depite stretching
and relaxing). How do you explain?
PP
Sorry, I don't quite see what you are describing here. Do you mean if you
pluck the string in the direction parallel to the soundboard there is
'almost NO sound'?
Alexander
- Original Message -
From: Miles Dempster [EMAIL PROTECTED]
To: lute list
Sent: Saturday, August 26, 2006 4:30 PM
Subject: [LUTE] Re: strings: direction of vibration?
My understanding is that double, rather than single, stringing is
likely to have an effect on how a course
Sorry, I don't quite see what you are describing here. Do you mean if you
pluck the string in the direction parallel to the soundboard there is
'almost NO sound'?
Alexander
Don't play like your're used to. Just try to make the string move parallel
to the soundboard. You can do it by
Duarte says, however, that a string should be plucked in such a way that
it
vibrates as much as possible parallel to the sound board of the instrument
Did he say so, funny, because he criticised Sor for saying just the same
thing. He added: people can do the right thing while believing
On Aug 26, 2006, at 3:06 PM, LGS-Europe wrote:
...a string plucked
parallel to the sound board will only make the string vibrate without
setting the sound board into action: boring no-sound! But a string
plucked
at right angles with the sound board will give a full (and
satisfying) tone
Don't play like your're used to.
You mean I'd better aim at producing no sound while playing?
Just try to make the string move parallel
to the soundboard. You can do it by pulling it sideways with two fingers
(one over, one under the string) and releasing it. If you got it right,
you'll
I would say that the direction of the plucking should be almost irrelevant.
The bridge represents a node of the wave while the antinodes (where the mass
of the string moves) is in the middle of the string (if you are not playing
harmonics otherwise there are more nodes and antinodes but always a
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