Dear Martyn, Sean, and Peter, and all,
Last night I added another fret to each of the frets on my 6 course
lute, in the manner that Sean had suggested, with smaller diameter gut
behind it, as I was unsure as to how much the fret wear, would affect me
getting the right mix with the existing frets.
Well, the result was phenomenal, not only in the playability, but sound as
well. I guess these old guys new something after all.
Besides the feeling of solidity, and sure footedness, the lute
immediately had more sustain, not in a bad way, but just enough to even out
the balance everywhere. It also eliminated, what I consider, a not musical
transient attack sound, and gave it a crystalline round fundamental attack.
I think in the way, that Peter was describing, the guitar like effect, this
is important for the lute, as really, the only thing that projects, is the
attack of the string.
If one really thinks about it, half the sound goes into the bridge, and half
goes into the neck, via the frets. So to not consider the effect the frets
contribute would be silly.
This was so amazing that I then did it to my baroque lute, with the
same astonishing results.
I did get a little sizzle on the second course second fret, but I
realize this is probably the most fretted note on the Baroque lute, and the
fret wore there more than other places.
It makes me think that when the BIG BOYS have tried it, they didn't
have time, concerts etc. to let the sizzle fade away perhaps?
When I have tried to turn on, some of my stubborn guitar friends, to the
Baroque lute, they to my horror, declare that the baroque lute sounds like a
banjo.
These double frets, transform this, thin high partial banjo like
sound, into a full bodied rounded sound, much easier on the ear of the non
initiated, and more in line with what guitarists consider a good tone.
I have yet to try the single double looped system,,which I will, but If
professionals who don't have the time perhaps Sean's method would be
something one could try in a matter of an hour or so.
I will put double frets on all my lutes from now on.
Thanks again, for the dialogue, and expertise, and your patience with my
journey
Michael Thames
www.ThamesClassicalGuitars.com
----- Original Message -----
From: "Sean Smith" <[EMAIL PROTECTED]>
To: "Lutelist" <lute@cs.dartmouth.edu>
Sent: Sunday, June 19, 2005 8:50 PM
Subject: Re: Built-in action? Double frets
>
> Stability is good word. Somehow, too, it requires less effort. W/ a
> single fret you feel the string bend behind the fret and you want to
> touch bottom.
>
> I remember playing an orpharion w/ scalloped frets and it seems to take
> these ideas to the next level. Bending the string behind the fret would
> severely sharpen the metal strings as well as wear down the brass frets
> and that's the reasoning behind that, I suppose.
>
> Having the fret area more spread out over the string means less wear on
> a single point. This is good for both small diameter gut strings as
> well as the roped bass beasties.
>
> Only recently (March) in my fretting experiment did I switch to doubled
> frets for frets 5-8 and I immediately found it easier to get clean
> notes up there.
>
> Sean
>
> On Jun 19, 2005, at 7:34 PM, Peter Weiler wrote:
>
> > I've thought about this for a good hour and I have to say it is a
> > remarkably difficult thing to verbalize. I don't know what commercial
> > pressures the big boys are subject to (and I don't think that's a good
> > measure) but for the rest of us... you're right about a little less
> > tendency to slide on the neck, but there is a certain stability or
> > solidity to the feeling of the note being produced by fretting which is
> > actually a bit more guitar-like. The speed with which a tone is
> > articulated is different. There is a very precise and decisive feel to
> > moderate-gauge double frets. I hope a few others who have better
> > English
> > than I will jump in here!
> >
> > - Peter
> >
> > " Well I'm not proud ! So I will give them a try. Would it be safe
> > to
> > say that the second fret prevents the courses from sliding around so
> > much?
> > What is the advantage to these, and seriously, why don't performers use
> > them
> > thesedays. Has anyone talked to the guys at the top, like Odette,
> > Wilson,
> > Barto, Cardin etc. as to their rational behind not using them?
> > Michael Thames"
> >
> > --
> > ___________________________________________________________
> > Sign-up for Ads Free at Mail.com
> > http://promo.mail.com/adsfreejump.htm
> >
> >
> > --
> >
> > To get on or off this list see list information at
> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>
