JAS wrote: "  But this means all those elaborate formulas for tying a
double fret with a
single strand of gut are not applicable. "

Not really; as Sean (I think) pointed out, the up-neck fret tends to be
the one that takes the brunt of the wear. After a week or three of use
they seem to settle in with this morphology (slightly higher on the
bridge side). The effect is very small, but I think it's not imaginary. 
I do have a lot of trouble getting double fret knots tight for anything
greater than, say, 0.80 mm fretgut though.

-Peter

  ----- Original Message -----
  From: "James A Stimson"
  To: "Peter Weiler"
  Subject: Re: Built-in action? Double frets
  Date: Tue, 21 Jun 2005 19:29:25 -0400

  >
  >
  >
  >
  >
  > Dear Peter and All:
  > Now this is interesting. I assume you put the slightly smaller fret
  on the
  > nut side of the "main" fret.
  > It makes me think of the frets on my Forrester citterns, which are
  brass
  > and include a tiny wooden "ramp" on the nut side, which presumably
  keeps
  > one from bending the note sharp when fretting a course.
  > But this means all those elaborate formulas for tying a double fret
  with a
  > single strand of gut are not applicable. It also means that if you
  break a
  > fret in the middle of a performance all is not lost.
  > Cheers,
  > Jim
  >
  >
  >
  >
  > "Peter Weiler"
  > > om> cc:
  > Subject: Re:
  > Built-in action? Double frets
  > 06/21/2005 06:14
  > PM
  >
  >
  >
  >
  >
  >
  > Ha ha! My diabolical plan to inflate the third-quarter share price
  of
  > fretgut manufactories is proceeding apace! 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
  >
  > --
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