[LUTE] Re: A stringing question for Sellas E. 545

of guitars of the period MH __ From: Miles Dempster <miles.demps...@gmail.com> To: Lute List <lute@cs.dartmouth.edu> Sent: Wednesday, 13 December 2017, 16:24 Subject: [LUTE] Re: A string

[LUTE] Re: A stringing question for Sellas E. 545 - Puget

schrieb Martyn Hodgson >>>> <hodgsonmar...@cs.dartmouth.edu>: >>>> >>>> Martin, >>>> The first (larger area) one is reasonably clear in this link >>>> rgds >>>> Martyn >>>> [1]Puget Louis XIV musicians louv

[LUTE] Re: A stringing question for Sellas E. 545

Would it be an acceptable solution, for the 7th course, to make an exception and use an octave string whose density is less than that of gut? A nylon octave would have a thickness of .4mm or more. In the grand scheme of things would it sound out of place in comparison to the remaining diapasons

[LUTE] Re: A stringing question for Sellas E. 545 - Puget

rea) one is reasonably clear in this link >>> rgds >>> Martyn >>> [1]Puget Louis XIV musicians louvre - Google Search >>> >>> [google.png] >>> >>> Puget Louis XIV musicians louvre - Google S

[LUTE] Re: A stringing question for Sellas E. 545 - Puget

>> Martyn >> [1]Puget Louis XIV musicians louvre - Google Search >> >>[google.png] >> >> Puget Louis XIV musicians louvre - Google Search >> ___________________

[LUTE] Re: A stringing question for Sellas E. 545 - Puget

rtmouth.edu> > Sent: Wednesday, 13 December 2017, 10:08 > Subject: [LUTE] Re: A stringing question for Sellas E. 545 > The problem with having unisons on 7, 8, etc is how far to go before > the > transition to octaves, and how noticeable that transition is goin

[LUTE] Re: A stringing question for Sellas E. 545

__ From: Martin Shepherd <mar...@luteshop.co.uk> To: Lute List <lute@cs.dartmouth.edu> Sent: Wednesday, 13 December 2017, 10:08 Subject: [LUTE] Re: A stringing question for Sellas E. 545 The problem with having unisons on 7, 8, etc is how far

[LUTE] Re: A stringing question for Sellas E. 545

The problem with having unisons on 7, 8, etc is how far to go before the transition to octaves, and how noticeable that transition is going to be.  Good luck, Magnus! BTW, does anyone have a really good reproduction of the Puget they could share?  I only have a very indistinct one. Martin

[LUTE] Re: A stringing question for Sellas E. 545

Thanks Martyn, the problem that arised was to find strings long enough at this thinness. But a few string makers that I ´ve contacted can supply them in 1,5, 2,4 or 3 meters even though it ´s not part of their "regular" catalogue. But yes- I also believe that the Puget painting

[LUTE] Re: A stringing question for Sellas E. 545

Dear Miles- thanks, I don ´t know why I didn ´t think of that! It is a good idea. It ´ll sure be a lot of experimenting in the beginning to find the "perfect" setup for this instrument, but I ´m so eager to try it out! Magnus On Tue, Dec 12, 2017 at 6:34 PM, Miles

[LUTE] Re: A stringing question for Sellas E. 545

If I were to string-up Magnus’ double-strung diapasons, I wouldn’t bother with octaves on the 7th (and probably 8th) course. At that length (130cm) and pitch they will sound bright enough. - just string them in unisons. Miles > On Dec 12, 2017, at 8:21 AM, Martin Shepherd

[LUTE] Re: A stringing question for Sellas E. 545

Sorry I didn't make myself clear. When thinking about English theorbo, I was thinking about the viability of the lowest basses (at say 130cm).  On a typical swan-neck lute, the lowest course would be tuned to AA at a likely pitch of around a'=392 and be perhaps 99cm long, so this might be a

[LUTE] Re: A stringing question for Sellas E. 545

Here's a few scenarios: - The musician had to sell his luxury car for a small one, but the lute did not fit into the baggage compartment. - The musician had to downsize his apartment, now living in a small room under the roof the lute was too long for the low ceiling. - the musician had a very

[LUTE] Re: A stringing question for Sellas E. 545

Magnus Andersson <[4]magnusl...@gmail.com>; [5]lute@cs.dartmouth.edu Oggetto: [LUTE] Re: A stringing question for Sellas E. 545 Question--what is the longest a neck extension can be and still be able to have octave strings? I'm making a pegbox for a baroque lute based on

[LUTE] Re: A stringing question for Sellas E. 545

: Matthew Daillie <dail...@club-internet.fr> To: "lute@cs.dartmouth.edu" <lute@cs.dartmouth.edu> Sent: Tuesday, 12 December 2017, 11:55 Subject: [LUTE] Re: A stringing question for Sellas E. 545 There are two issues: the length and the diameter. It is not easy to

[LUTE] Re: A stringing question for Sellas E. 545

There are two issues: the length and the diameter. It is not easy to find thin gauge gut strings long enough for a 130 cm diapason. A string of 0.34 is incredibly thin. I don't even know if they are available and if they are, they certainly wouldn't last long. I very much doubt that historical

[LUTE] Re: A stringing question for Sellas E. 545

Dear Magnus, I really don't see what the problem is: for a theorbo with doubled octave strung basses, if your highest pitched open 7th course bass octave is g (assuming a theorbo in nominal A), then for, say, a tension around 3.2KG (obviously less than if single strung) the diameter

[LUTE] Re: A stringing question for Sellas E. 545

Am Dienstag, 12. Dezember 2017 10:17 CET, Martin Shepherd schrieb: > It just occurred to me that the "English" theorbo as described by Mace > had double basses.  I have no experience of trying to reconstruct this > instrument, but some people do - David Van Edwards

[LUTE] Re: A stringing question for Sellas E. 545

It just occurred to me that the "English" theorbo as described by Mace had double basses.  I have no experience of trying to reconstruct this instrument, but some people do - David Van Edwards made one for Lynda Sayce, there must be others -  I wonder if they have any insights? Martin ---

[LUTE] Re: A stringing question for Sellas E. 545

Dear Howard, Matthew, Martin and Mimmo, thanks very much for your insightful comments. As we all know, lutes and theorboes were rebuilt- I ´d not use the word mangle here- throughout the history. Samuel Pepys gives us an example on the 25th of October 1661: [1]"Home on foot very

[LUTE] Re: A stringing question for Sellas E. 545

I fully agree, Howard, that it is always interesting to explore how lutemaking developed and why certain instruments were modified to cater for changes in taste. There were clearly some very convincing conversions made of renaissance lutes for baroque lutenists, but wouldn't we have preferred

[LUTE] Re: A stringing question for Sellas E. 545

> On Dec 11, 2017, at 12:16 PM, Matthew Daillie > wrote: > > That definitely appears to be the case. A shame indeed as it must have been a > splendid instrument. > > Best, > Matthew > > On 11/12/2017 21:09, Martin Shepherd wrote: >> OK so we could be looking at a

[LUTE] Re: A stringing question for Sellas E. 545

<lute@cs.dartmouth.edu> Sent: Monday, December 11, 2017 11:32 AM Subject: [LUTE] Re: A stringing question for Sellas E. 545 Dear Magnus and All, A few thoughts: I only recently realised that this instrument existed and immediately found it puzzling. Matthew's conjecture tha

[LUTE] Re: A stringing question for Sellas E. 545

t; Sent: Monday, December 11, 2017 11:32 AM Subject: [LUTE] Re: A stringing question for Sellas E. 545 Dear Magnus and All, A few thoughts: I only recently realised that this instrument existed and immediately found it puzzling. Matthew's conjecture that the neck has be

[LUTE] Re: A stringing question for Sellas E. 545

That definitely appears to be the case. A shame indeed as it must have been a splendid instrument. Best, Matthew On 11/12/2017 21:09, Martin Shepherd wrote: OK so we could be looking at a "normal" Italian theorbo (6x2, 8x1) which has been mangled into something else.  What a shame. M

[LUTE] Re: A stringing question for Sellas E. 545

OK so we could be looking at a "normal" Italian theorbo (6x2, 8x1) which has been mangled into something else.  What a shame. M On 11/12/2017 20:54, Matthew Daillie wrote: On 11/12/2017 20:31, Martin Shepherd wrote: Thanks, Matthew - the plot thickens! You say "German-style" bridge - does

[LUTE] Re: A stringing question for Sellas E. 545

On 11/12/2017 20:31, Martin Shepherd wrote: Thanks, Matthew - the plot thickens! You say "German-style" bridge - does that mean it might have been turned into a massive "German theorbo" (whatever that is)?  Also strange that the upper neck (as we would say) was modified to accommodate more

[LUTE] Re: A stringing question for Sellas E. 545

Thanks, Matthew - the plot thickens! You say "German-style" bridge - does that mean it might have been turned into a massive "German theorbo" (whatever that is)?  Also strange that the upper neck (as we would say) was modified to accommodate more pegs rather than simply being replaced. 

[LUTE] Re: A stringing question for Sellas E. 545

According to the museum catalogue, the basses were indeed made double when the neck was shortened. It is surmised that the upper neck was shortened by 500 mm and that this was the reason for the lower courses being doubled thereafter (presumably to compensate for a lacklustre sound from the

[LUTE] Re: A stringing question for Sellas E. 545

Dear Magnus and All, A few thoughts: I only recently realised that this instrument existed and immediately found it puzzling.  Matthew's conjecture that the neck has been shortened removes some, but not all, of the puzzle. In terms of the string length for the petit jeu of c.90cm, I have

[LUTE] Re: A stringing question for Sellas E. 545

On 11/12/2017 18:50, Matthew Daillie wrote: Another thought: obviously you wouldn't be able to use an octave string for the 7th diapason, it would just be too thin, so maybe if you do decide to have the upper neck at 130 cm, then you could ask your luthier to put the 7th course on the

[LUTE] Re: A stringing question for Sellas E. 545

Hi Magnus, Do you really need to use octave stringing throughout? For your 7th and 8th courses, for example, the diameter of the fundamental for a string length of 1300mm should give enough clarity of sound for there not to be a need for an octave to brighten it further. To my ear, the

[LUTE] Re: A stringing question for Sellas E. 545

Another thought: obviously you wouldn't be able to use an octave string for the 7th diapason, it would just be too thin, so maybe if you do decide to have the upper neck at 130 cm, then you could ask your luthier to put the 7th course on the fingerboard. Best, Matthew On 11/12/2017 18:39,

[LUTE] Re: A stringing question for Sellas E. 545

Hi Magnus, I don't know how advanced your project is but are you sure that you want your instrument to be a copy of the Sellas theorbo as it is now rather than how it probably was originally? The catalogue of the museum confirms that the upper neck was severely shortened and that the

[LUTE] Re: A stringing question for Sellas E. 545

well when SOFRACOB still existed, you could cut your own length since he sent them in lengtes of more than 3 meters.. Woul Dan Larson provide strings that that long? or Mimmo Peruffo if you go Nylgut? Bruno 2017-12-11 11:42 GMT-05:00 Magnus Andersson <[1]magnusl...@gmail.com>:

[LUTE] Re: A stringing question for Sellas E. 545

Hi all, sorry for the confusion! The diapasons are 1300 mm long, but I ´d need a bit more than that to be able to knot them properly. Best, Magnus On Mon, Dec 11, 2017 at 5:41 PM, howard posner <[1]howardpos...@ca.rr.com> wrote: > On Dec 11, 2017, at 8:23 AM, Magnus

[LUTE] Re: A stringing question for Sellas E. 545

> On Dec 11, 2017, at 8:23 AM, Magnus Andersson wrote: > > 8 double strings for the diapasons, at 1300 mm. > It was probably shortened sometime from its original length > into this present condition. > The problem that arises is when one wants to string the upper