Dear Michael, Yes, the Widhalm is a lovely one, isn't it? I'm very proud! I was able to get mine second hand, and it's truly superb: its dimension are 73/89/102 - it has a Jauck-style triple extension. Here's a photo-link onto Grant's site:
http://tomlinsonlutes.com/thirt2.html The instrument pictured is my lute, although the photo is now several years old. The lute has wonderful tone, balance, exquisite workmanship and dynamic range. It even packs a continuo punch; so who could ask for anything more? Yes, I'm thinking of getting some wound nylguts from Mimmo for the basses - his "D" type strings, are they? All best, Benjamin In message <[EMAIL PROTECTED]> "Michael Thames" <[EMAIL PROTECTED]> writes: > Dear Benjamin, > What a coincidence that you asked this question and Klaus wrote me > today! concerning the Widhalm, BTW ( my favorite lute). What scale do you > have? > Mimmo, has some really interesting new developments in bass strings for > baroque lutes, the loaded gut as well as some new overspun basses, can wait > to try them soon. > Michael Thames > www.ThamesClassicalGuitars.com > ----- Original Message ----- > From: "Benjamin Narvey" <[EMAIL PROTECTED]> > To: "Michael Thames" <[EMAIL PROTECTED]> > Cc: <lute@cs.dartmouth.edu>; "Benjamin Narvey" > <[EMAIL PROTECTED]> > Sent: Saturday, February 26, 2005 9:58 AM > Subject: Re: Minikins, Catlins, Lyons, Pistoys, Gimped... > > > > Dear Michael, > > > > That's good to know - considering it's my lute! [I've got a Grant > Tomlinson > > based on the Widhalm (MIR 903).] Good to know! > > > > Best, > > > > Benjamin > > > > In message <[EMAIL PROTECTED]> "Michael Thames" > > <[EMAIL PROTECTED]> writes: > > > Benjamin, and all, > > > I'm sure you will get some advice from others concerning > historical > > > strings, on ren. and early baroque lutes. > > > However, I would like to throw a wrench into the works by sharing > this > > > corespondence I recieved today from Klaus Martius, concerning late > Baroque > > > lutes. Some fairly clear evidence. Also, the fact that the Brunner was > made > > > in 1765, the same time when first classical guitar, with single strings > > > (Wound metal on silk) started to appear. It would be almost > unimaginable > > > that these late baroque lutenist's didn't use overspun basses. Also, > when > > > you take into account the different bracing and arching to accomodate > this > > > new inovation ( wound basses) > > > So, all of us who use overspun basses on baroque lutes can sleep > easier > > > now, knowing that there is historical > > > evedence pointing to there use. > > > > > > From Klaus...... > > > Michael, > > > 3) I have no observation about wound strings in the base, but I am > pretty > > > sure they used wound strings since you find it on the pegs, where the > > > woundings have left their traces pressed into the wood (how old those > > > pressed in features are I dont know). > > > > > > 2) When we took off the bridge of the Widhalm (MIR 903) there was a > rather > > > clear arching a long the bridge, following the top arching > continu(e?)ing > > > the arching of the fingerboard and the upper block. It also was very > clear > > > to see it on the lower end of the lute, looking from the endclasp along > with > > > the instrument. You are the first person to agree with this observation > of > > > Ian Watchorn (who used to work at the GNM twenty years ago). I never > found > > > this arching again that clear. In most the cases you cant say anything > about > > > that in terms of distortion round the bridge area > > > Michael Thames > > > www.ThamesClassicalGuitars.com > > > ----- Original Message ----- > > > From: "Benjamin Narvey" <[EMAIL PROTECTED]> > > > To: <lute@cs.dartmouth.edu> > > > Sent: Saturday, February 26, 2005 5:21 AM > > > Subject: Minikins, Catlins, Lyons, Pistoys, Gimped... > > > > > > > > > > Hello Lutenetters! > > > > > > > > After about one year of experimenting with gut, I've come to realise > that, > > > > actually, I know precious little detail about the historical types of > > > strings > > > > mentioned above, and just how they relate (and indeed, if they do!) to > the > > > > modern gut strings with the same titles. Does anybody out there know? > > > (ahem, > > > > ahem, Mimmo, are you still out there? Martin???) > > > > > > > > I realise the question of stringing really is the $64,000 question (if > > > indeed, > > > > I have the sum right - the game show offered some significant > remuneration > > > at > > > > any rate), and that the poverty of knowledge about such historical > types > > > is > > > > perhaps the most pressing lacuna concerning historical performance on > the > > > lute > > > > to date. I have read Mace and Varietie, amongst other historical > sources, > > > that > > > > deal with stringing in order to better understand what was going on > then - > > > but > > > > I find the information I have been able to glean lacking in precision. > > > What > > > > soures are today's stringmakers reading? Am I missing something? I > have > > > also > > > > visited various stringmaking sites such as Gamut and Aquila - but here > too > > > I > > > > find the description of historical string types to be lacking, as too > is > > > the > > > > clarity between the historical types and their modern appellative > heirs. > > > > > > > > So, if anyone could tell me (that is, if it is known/or at least what > is > > > > known) about these historical types and their modern equivalents I'd > be > > > well > > > > pleased! I'm sure that if anyone knows, anyone will be on this list! > > > > > > > > All best! > > > > > > > > Benjamin > > > > > > > > > > > > > > > > To get on or off this list see list information at > > > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > > > > > > > > > > > > >
