Hello Jaroslaw, Martin, Ed and Alexander, Sorry for my late (and long-winded) response, I have only just returned from the London string conference, of which more perhaps later. PARA For the moment I would just like to respond to these last messages about the sustain of lute strings. I agree entirely with what you have just said, Jaroslaw, about half wire wounds and varying taste concerning bass prominence, except possibly for this remark, which I understand (perhaps wrongly?) as an argument for preferring wirewounds to pure gut or loaded, for all Baroque lute music (although, you might also be meaning silk overspuns): "Actually he (Playford?) was praising newly invented wire (gimped) strings which had much better sound quality then ordinary gut. As you see it looks like they were looking for new string material because gut wasn't ideal and they liked stronger, louder tone with more sustain." Jaroslaw PARA Although, in the early 17th century, Lutenists and Gambists were experimenting with new open tunings (and even with sympathetic strings, see Lyra Viol, and perhaps Mace's Diphone lute) which should help the sustain of all strings through sympathetic resonance, there are indications that it was not just the basses they were trying to improve. A preference for old Bologna lutes could also be a sign that overall improved sustain (with clarity) was the goal, rather than the deep bass that can be helped by the fuller forms of many "Venetian/Paduan" style lutes, which had been adopted by many late Renaissance and early Transitional players. PARA Indeed, I notice that a full bodied lute, even with wirewounds, can work fairly well for the dark late renaissance or transitional music of a Cuthbert Hely in the hands of Liz Kenny (although I feel that less metallic loaded basses would have sounded even better) [1]http://tinyurl.com/ykm8wms [2]http://www.amazon.fr/gp/product/B00285HBXO/ref=dm_dp_trk17 PARA However, as Martin tells us, "it is the Burwell lute book, which explains that the French removed the low octave from the 11th course because the sound of it was too "big" (not necessarily sustained) and smothered the other strings." Although some do consider this as an explanation after the event, of the way some lutenists may have altered their 10c lutes to 11c without changing the peg structure, nevertheless, this does not seem to indicate a love of deep bass, among the later French Baroque lutenists, which might have lead to their preferring demi-filA(c) strings. PARA Indeed, according to Charles Besnainou (message to the French lute list), gimping and wrapping were well known in the embroidery trade for several hundred years, and so the technology was at hand, if anyone had felt a need for their use; but as Martin points out, after Playford, no lute treaty (Burwell or Mace) even mentions these string types. PARA Ch.B. goes on to write, "more than a century after the invention of wirewounds advertized in the English Dancing Master of John Playford (Londres, 1651), we find this critical commentary in l'Art du faiseur d'instruments (l'EncyclopA(c)die MA(c)thodique, Paris, 1785) : A<< a|les bourdons filA(c)s ont l'inconvA(c)nient de dominer trop sur les autres cordes, et d'en faire perdre le son final par la durA(c)e du leur, dans les batteries de guitares. A>> Thus as late as 1785 wire wounds (most possibly full wirewounds) are described as overpowering the other voices and covering them completely in their moment of decay; and this quality/defect for French Baroque Dm music, remains, in my mind, a real problem with full wirewounds today, and which damping does not completely allay. PARA On the other hand, Claude Perrault (quoted by MP), in "OUVRES DE PYSIQUE", AMSTERDAM 1680, seems to agree with Jaroslav: of wirewounds he says, "...c'est par cette mA-ame raison que la maniere que l'on a inventA(c)e depuis peu de charger les cordes a boyau, rend leur son beaucop plus fort: car le fil de metail trait..." (27). [3]http://www.aquilacorde.com/en/researches/our-works/loading-of-gut.ht ml?start=3 PARA These contrasting remarks could be two different views of the same bass string type (as Jaroslaw rightly says taste can differ), but it is also possible that in this 1680 text, CP is talking about demi-filA(c), while in the 1785 text, the author is talking about full-wounds. Indeed, CP insists on the fact that this improved loudness is achieved without any change to the tonal sound of the string, as their vibrational structure is not altered, because the stiffness or the flexibility of the resonating body remains unchanged. [4]http://www.aquilacorde.com/en/researches/our-works/loading-of-gut/39 .html PARA Now this does sound like a demi-filA(c), whose open wire leaves the flexibility of the gut unimpeded, thus presenting less impedance at the bridge than the full-wound, indeed, less than that of a regular thick gut bass, since the diameter (as with Mimmo's loaded strings) can be thinner. The free vibratory movement of a loaded string is effectively more like that of the pendulum (or the clapper of a bell, as in the Perrault quote), rather than that of the tight metal spring as with the full-wirewound. The stiffness of the full-wound seriously alters the sound quality tending to put a break on the full resonance of the other voices, while having good sustain themselves. (Perhaps, as this text is dated 1680, we might be sure that wire is not drawn thin enough to make full wirewounds; I am sure there is a note on this in MP's text, but I was unable to find it). PARA MP adds that "The author refers to the new overspun bass strings giving however the impression he is talking about a new technological strategy for loading gut (i.e. the use of metal wire) in place of a more traditional one." This does seem to be indicated by another example of loading in Charles Perrault's text, when he says that "on charge avec de la soudure ("solder") le bout des languettes des anches des orgues" (they load the organ's metal tongues, or reed, with solder). Thus, ChP is clearly considering methods of loading. PARA Nevertheless, in spite of their qualities, demi-filA(c) do not seem to have been generally adopted until about the 1720s, around the same time as the swan-neck was introduced, and the fashion for the fan-bracing began to spread; all these indicate a new tendency to revel in the basses, in keeping with what was to develop into the Galant taste for a more underlined bass line to support a differentiated upper voice; but these do not seem to have been qualities cherished by the later French school, in which so much more was going on in the Mid register. PARA However, it is probable that the adding of two courses on a rider to make 11c into 13c lutes which really determined the success of the demi-filA(c). Indeed above a certain thickness (beyond 11c) the loaded strings do tend to become a little dull, while the wire on the demi-filA(c) can actually restore a little brightness (pure gut strings become even more problematic on a 13c rider lute). It may thus have become acceptable to sacrifice a little homogeneity in favour of a better tone, which may also have corresponded to a change in taste (although the swanneck variant might indicate that some continued to dislike demifilA(c), using the extension for pure gut basses; unless they were after even more bass and sustain by using it with demi-filA(c)). PARA This would surely have been a break with the late French (and possibly early German) Baroque taste, which seems to benefit from as little tonal break as possible between the voices, while tending to explore the Meanes, yet spurning the frequency extremes. We can gather this from the critical remarks in Burwell, about the 12c double-headed lute (I quote Kenneth Sparr): "According to the Burwell Lute Tutor the double-headed lute was not accepted for long in France and furthermore the author argues against the views of 'English' Gaultier, who supposedly held that the length of the strings on the double-headed lute produces a longer and bigger sound: all the strings ought to have the same length of sound, and the sound of a string must make room for the other; for besides the confusion that the length of sounds produce, it also causeth a discord (since every bass cannot make a concord with every small string). And this is the first reason. The second evil effect that condemneth this alternation is that the sound of these long strings is not good, and that sound is like that of one that sings in the nose. " [5]http://www.tabulatura.com/MESTWEB.HTM PARA This seems in keeping with the concept of "le bon gout franAS:ais" developed around this time, which would favour an elegant economy over extreme effects, while rejecting an earlier more flamboyant "preciosite", which was perhaps still to find favour in the Cavalier court of Charles the Ist (under the patronage Henrietta Maria of France, sister of Louis XIII). These paintings could evoke this difference of approach, even in clothing (although here the date difference can account for it): [6]http://www.er.uqam.ca/nobel/r14310/Luth/Iconographie/darthmouth.edu. wbc/Reyn-Big.jpg [7]http://idata.over-blog.com/2/01/43/65/Louvre-10/Louvre-10-0550.JPG PARA As proof of this conservative tendency, the Carolean masque under the influence of Henrietta Maria absorbed a type of outmoded "ballet de cour" known as "ballet A entrees" that was already judged as decadent in France, with its increased emphasis on the visual and spectacular, at the expense of the dramatic function. [8]http://www.societefrancaiseshakespeare.org/document.php?id=737 H-M had herself performed in such ballets in France before coming to England, and her role in helping perpetuate earlier transitional French Baroque forms, is possibly non-negligeable; it was H-M who surrounded herself with French musicians such as Jaques Gauthier, who appears in the lists of the queen's musicians, as well as in the orchestral list for two exravagant masques, as Musician in masques, Triumph of Peace, 1634; maker of lutes for masques, Britannia Triumphans, 1637, (Journal of the American Musicological Society). PARA If H-M's presence in England may have helped preserve this older 12c French style (Gauthier and Mace), her contacts with Holland (where she arranged the marriage of her daughter Mary to William of Orange, and sold her jewels to finance the Royalists), may have helped its spread there; I believe some of her French Catholic musicians fled to Holland during the English Civil War (although I can no longer find the reference). PARA I will admit that this is my interpretation from the scraps of information that I have been able to glean, and I am of course willing to be put right by any serious musical historian. Nevertheless, couldn't it be said that two competing schools of French Baroque music developed: The French "Dm school", and the English and Dutch ("Transitional") French school (even if the two may not have been quite so separate as my account suggests); but the "bon gout franAS:ais" shunning the flamboyant extremes may not have completely won out. PARA There are a number of indications of the existence of a difference of taste, as between two schools: Mace, who also adopted a form of 12c lute (see his lute Dyphone), damned with faint praise the taste for Bologna lutes, in this well known scene where he described Jacques Gaultier showing him two pittiful cracked examples of Maler's art. [9]http://www.lutesandguitars.co.uk/images/07-2005/Mace3.jpg He concluded, "I have often seen Lutes of three or four pounds price, far more illustrious and taking to the common eye"; but the most telling thing, is that the teachers, Gautier and Mace do not use Bologna lutes, while their rich amateur students apparently do. I wonder why, this passage is widely quoted in support of the Bologna "fad", while, I seem to hear Mace and Gautier (both lutenists and lute makers, or designers?) chuckling at the expense of their rich student's feeble lutes (even if this may have included the king himself). PARA Thus Jaroslaw is again quite correct, in insisting on variation in taste. Some musicians and their audiences clearly went on enjoying the less homogenous slightly bass boomy 12c lute (as the Burwell text would have it). Perhaps, Mace's Dyphone lute actually needed the "tut" Grace (Music's Monument p.109), as Jaroslaw mentions, not just for the bass line but also for the other voices, because of the strong sympathetic resonances of this "twin" lute. [10]http://www.tabulatura.com/mace.jpg PARA Well of one thing we can be sure, this Diphone lute would not have found favour with the author of Burwell, who had already found the 12c lute a "faute de goA>>t", "The fourth reason [is] that there is no symmetry in proportion in the two heads, and a lute so framed is not a lute but a bastard instrument between a lute and a theorbo. " which almost both predicts and damns Mace's invention in advance (although the dates of both in fact seem to differ by only a few years). PARA Yet, the criticism in Burwell may well tell us more about the notions of "bon goA>>t" held by the newer French school than any real defect in the 12c lute. I have to admit that I have only heard one such lute played live, but it had Charles Besnainou's ultra low impedance spring strings on it, and I was listening more to the strings than the instrument or the music. PARA However, Paul Beier told me that his 12c lute is a very elegant design, in which each bass string increases in length by a sufficient step, so as to keep the same string thickness across the basses. This is more or less what Mimmo's loaded Venice achieve by a sufficient step in loading to keep the same diameter Venice core. PARA Both these methods for maintaining the same effective diameter seem to have been noted in two Italian 18th century texts (discovered recently by Mimmo) concerning the characteristics which determine the resonance frequency of a gut string; they both state that apart from length, diameter, and tension, there is also the weight, or the gravity, of a string. I will leave Mimmo to give the details, but this is indeed in keeping with the 12c solution, as well as a strong support for the loaded string hypothesis. PARA You ask me, Jaroslaw, whether I would give up my loaded strings if they were proved to be non-historic. I would say that the problem, for modern interpretations of French Baroque Dm lute music with full-wounds, is less the increased sustain of these basses, than their impedance to the sustain of the other voices resulting in a less singing lute sound; but it is this double effect that ensures the smothering of the Meanes and Trebles (as l'Art du faiseur d'instruments describes). I don't think this corresponds well with the goals of this particular music, as I have tried to point out. I don't see any more musical solution for a Bologna lute of 70cm or below. It is this consideration which makes me so happy with my Venice loaded basses with Venice octaves and Meanes on my Warwick Frei: even the basses sing, and the other voices also have good sustain. I believe this would be in keeping with what we know of the goals of French Baroque Dm music, even if it could be proved that they had never actually existed. PARA Now if another bass string was to be produced that was both historic, and had even better properties of harmonicity, I might be tempted to change from my present loaded. Well, during his string conferences in London, Mimmo handed around just such a string: with improved loading, an even thinner Venice core, and a heavier but smoother loading. When I held it across the fingers as shown on Martin's site: [11]http://www.luteshop.co.uk/Gerle1546small.jpg it vibrated with superb duration and trueness of shape, AND it would bundle exactly as you point out does the string shown there. Yes, it did instantly come to my mind that I might "upgrade" at the same time as I could lower the diapason from 407 to 392Hz, but the singing quality of the present basses is so good, that I don't think I have the heart to do so now, but some time... PARA Now I have also been quite tempted by the type of 12c lute that Paul Beier owns (I hope he may soon make a recording). If I was to acquire such a lute, I might consider trying Charles' low impedance spring strings, or George Stoppani's flexible Lang Lay ropes (of which more later), but on a Bologna style lute, I really see no better solution than the loaded strings. PARA As to silk wound silk strings, I agree that the Gansar is a possible candidate. According to Ch B Gansar could be associated with the French word "ganse" which is usually a cord wound round with silk sometimes with a silk ribbon, to form a smooth rope. Such a rope should not show high impedance at the bridge, and might have good sustain. And do we really know what the Pistoy might have been? but that is a different story... Regards Anthony
Alexander, Well, I think this is just misunderstanding. What I was trying to do is to show that verbal descriptions of tone colour are subjective and can lead to misinterpretation. I purposly showed 2 extremes: mellow and sharp only to diferentiate general tone qualities. I don't think we have to do with a myth of sharp lute sound. On the contrary we have to do with myth of a sweet , full ,and mellow tone quality mentioned by some writers. We can't proove it because we don't have old strings, but I am afraid that comparing a lute played in proper (pinky on a bridge or behind) manner with the same lute played using modern technique (which is neither renaissance nor baroque), and then describing the tone characteristic would be very instructive. The only person that I know of using this technique is Toyoshiko Satoh. When I listen to his recordings (turning the volume up) I can hear that the quality of his tone is very different from what we are used to. Inspite of using a very low tension strings I can hear in the tone some kind of "stiffness" (kind of a sound not very far from a lute stop). And no wonder because even if your string is slack its elasticity drops down rapidly towards the bridge (giving a little bit more wooden quality to it - actually I never mentioned harsh tone). Nothing wrong with that! It's just different. So ,what I was saying is that all the descriptions of lute's sound are very subjective. Now, I don't know what Mace comment you were thinking off. If you meant Playford's advertissement I can't see where he mentions too long sustain of the strings. Here is the full citation: Advertisment (John Playford "An introduction to the skill of music", 4th edition London 1664): "There is a late invension of strings for the basses of viols and violins, or lutes which sound much better and louder then the common gut string, either under the bow or finger. It is small wire twisted or gimped upon a gut string or upon silk. I have made trial of both,but those upon silk do hold best and give as good a sound. The choise of these strings are to be sold at Mr. Richard Hunts Instrument-seller at the Lute in St. Pauls Alley near Pater noster Row. Finis" Actually he was praising newly invented wire (gimped) strings which had much better sound quality then ordinary gut. As you see it looks like they were looking for new string material for because gut wasn't ideal and they liked stronger, louder tone with more sustain. Silk strings were mentioned by Terzi (1686) as well. As for roped silk Dowland's Gansar strings could be a candidate. Also silk strings with silver wire - so called Grotesky strings - were well received: "Goretsky hath an invention of lute strings covered with silver wyer, or strings which make a most admirable musick. Mr Boyle. [...] String of guts done about with silver wyer makes a very sweet musick, being of Goretsky's invention" ( 1659 ). All in all, describtions were and are subjective, but we have our own ears to asses if the string is good or not. Best Jaroslaw from Ed Martin I have followed this thread with great interest. Now that Playford gets into the discussion, I recently had a great experience. Dan Larson, lute builder and string maker, recently acquired a treasure - an original edition of Playford's 1664 book, in which the strings are mentioned. I recently held this beautiful book in mint condition, and read through some of it. Interestingly enough, Playford does not mention the strings at all; this statement is in the very last folio, where it is an advertisement from a merchant who happens to sell strings. In any event, there is not general agreement that the description in this advertisement confirms that wound strings were used. The statement describes wire twisted or gimped upon gut or silk, which does not necessarily describe our modern concept of a wound string. At 06:23 AM 2/4/2010, alexander wrote: O, my apologies, thinking Playford, writing Mace. His complaining voice just is so loud in my head... ar On Thu, 04 Feb 2010 07:52:19 +0000 Martin Shepherd <mar...@luteshop.co.uk> wrote: ???? Mace doesn't mention wound strings at all. You may be thinking of the Burwell lute book, which explains that the French removed the low octave from the 11th course because the sound of it was too "big" (not necessarily sustained) and smothered the other strings. I know of no lute source which mentions wound strings. Best wishes, Martin ???? Mace doesn't mention wound strings at all. You may be thinking of the Burwell lute book, which explains that the French removed the low octave from the 11th course because the sound of it was too "big" (not necessarily sustained) and smothered the other strings. I know of no lute source which mentions wound strings. Best wishes, Martin If i may, just on two erroneous assumptions regarding the imagined sound quality from "when Historical Correctness was the History Itself". One has to do with the idea of the lute basses having rather short sustain. Mersenne, who otherwise is an accepted authoritative source on the strings (+ more), claimed that bass strings on the lutes had sustain of "several seconds". Currently possible only with the wound strings. Mace in his comment regarding the "new wire wound basses", dismissed their usefulness on the same basis, as, according to him, the "currently available basses", on long lutes had too long a sustain already. This is one of the points which, as i understand, keeps Mimmo Peruffo on searching for ever better answers then the current loaded gut offers. The second has to do with the universally accepted assumption that playing near the bridge with the "thumb out" produces a "sharp tone" (" Did they like mellow or sharp tone? The RH position of most baroque lute players on old paintings suggests the later."). This is just an assumption, as strange as it may be. Toyohiko Satoh demonstrates this on baroque lute. Then there is the case of this famous picture here: [12]http://library.csun.edu/igra/bios/graphics/aguado-d.gif The picture is of Dionisio Aguado, who according to his contemporaries hearing him play duets with Fernando Sor, at times had as deep and dignified sound, as Sor did, while playing WITH FINGERNAILS with his little finger firmly lodged behind the bridge. The critics, who otherwise were not noticed to be ignorant or unprofessional, on occasion compared his midrange sound to a cello! Of course then alternating with a "bright and clear trebles". While we can "only guess" how the long lutes sounded when played by all those pictured with their hand on the bridge, the critique of Aguado's performances is available from European news papers and magazines, available in microfilm. If the experiment is carried to the logical conclusion, one will notice that with the proper strings (and synthetics will not work at all in this case, and i am not claiming this theoretically), and allowing the right hand to play somewhat in reverse of the logic ( fingers moving slightly away from the bridge in plucking, and actually, not quite plucking, too, this position can be seen on Aguado's pictures), may be with the right side of the large fingertip, while acquiring a very relaxed stance, one will notice that the sound will not remind a harpsichord lute stop at all. Of course, one quality that is required from trebles in this case, is flexibility and ability to turn under the finger (which comes with flexibility). Modern gut strings only so slowly develop in this direction. I have a string made by Mimmo Peruffo (about 0.6 mm), twisted of two parts, like a rope, and then polished. This string can be kept in a "knot", not unlike the "historical" distribution methods suggested. Of course, for a string maker to go into production of these, a long time will pass, with changing demand and tastes. Meanwhile, demanding musicians are looking for solution in the lower tension ( Toyohiko Satoh ) instead. Et cetera... Everything flows somewhere. The "Some early records mention strings vibrating for up to 10 seconds after being struck: gut strings vibrate a second or two at most, but silk vibrations can continue for 10 seconds." quote appears to be corrupted in some way, as i was the source. The discussion was of a particular design silk strings, with the roped silk core wound by twisted silk. There is no evidence of such strings in Europe. A second or two - for plain gut basses. alexander r. On Wed, 03 Feb 2010 22:36:12 +0000 JarosAAaw Lipski <jaroslawlip...@wp.pl> wrote: Anthony, Thank you for a very interesting link. It looks like guqin players are a little bit more aware of their past then oud players or at least this awarness is making its way. There is nothing wrong about being little crazy or nostalgic. We must be crazy to spend money on such impractical things. However I don't think that puting a set of gut strings on a lute will transfer a player (or listner) to the past. It's rather a journey (as you wrote) to the new exotic sounds. Changing strings makes music different but it doesn't need to have pejorative connotations. I don't think that there is anything wrong with enthusiasm, say, for loaded basses, or any other new type of string providing we realize what is the reason to use them. Do we want to be archeologists or musicians? If archeologists, one has to buy what people say is HIP. If musicians, one buys what suits his musical taste best. Obviously we can be both, but then we will be torn and tormented when new data arrives. I wouldn't fancy throwing away loaded basses if someone announced one day that he has a data that contradicts existence of those strings in past. I would only buy them if I liked their tone. At least this is my attitude. I am the musician in the first place. So What is the reason for using gut? 1/Economical Definitely not economical. However in past it could've been so. It's difficult to compare prices from 18th century to the prices of modern gut, but definitely it must have been cheaper a lot. Normaly it was bought in bundles (as Mace and others write). If the production was really massive it could be the cheapest way to go then. 2/Historical This is a good argument for those of us that love history. The only problem is that probably the guts we can produce at the moment aren't the same that were produced then. Thiner strings were very supple - characteristique quite different from modern HT guts.This is the citation from Martin Sheperd's site (I hope you don't mind Martin? [13]http://www.luteshop.co.uk/stringshistory.htm ): "Packaging: strings were made in lengths ("knots") at least twice as long as was needed on the instrument. "Double knots" are presumably twice as long. They are then "made up" into "bundles", more knots to a bundle for thin strings than for thicker ones. The whole issue of packaging has been largely ignored by modern writers but it can give vital clues as to the nature of the strings: all the descriptions of "knots", "bundles" and how to extract a string from them suggest characteristics very different from those of modern gut strings, which must be carefully coiled because bending round sharp corners ruins them. The picture of testing for trueness in Gerle's book of 1546 is one of several depictions which shows what a "knot" was like" Do have a look at the picture of such a bundle on Martin's site . The fact very well known but notoriously overlooked or ignored (intentionaly?) by HIP players. Then the argument that original guts were better because they were stiff and this is why it was easy to play ornaments is not valid any more from historical point of view. Then comes the issue of basses. We already discussed it many times so I won't be repeating my standpoint, however I'd like to draw your attention to another aspect of the bass issue. One of the main arguments of gut bass advocates is that the string doesn't ring long therefore the balance of the instrument is much better. Now we enter another teritory so I'll make another point here. 3/Tonal Tonal characteristic is something that each one of us would describe differently. Our descriptions of how instrument in general or the string itself sounds is in a way a projection of our likings. For example a person that likes low frequences would describe an instrument set with wirewounds as sonorous. The tone of the very same instrument would be described as boomy by another person who prefers higher frequencies. This is just to say it isn't objective. We can hear it very clearly in some HIP interpretations. Some players are so afraid of boomy and unclear bass line that they develope quite complicated technique of dumping bass strings. Whether it is historical or not to play small phrases this way, can be polemicized, however playing the whole bass line non legato seems to be dictated rather by personal taste. Although Mace suggests that it actually was in use (Music's Monument p.109) however he describes it as a grace called "tut". Grace, not the whole technique of playing bass line. Then we have to ask what were the likings of people in 17 or 18 century. Did they like mellow or sharp tone? The RH position of most baroque lute players on old paintings suggests the later. What were the tonal qualities of other plucked instruments they invented? Harpsichords, lute-harpsichords etc....I wouldn't say they have gentle, very subtle and sweet sound. I would describe them rather as sonorous with comparatively strong bass register. I am not advocating here use of grand piano strings for lute, but I am trying to say that describing tone quality can be very subjective. We know that probably silk strings were used on lutes. Acording to the author of the article on guqin silk strings: "Some early records mention strings vibrating for up to 10 seconds after being struck: gut strings vibrate a second or two at most, but silk vibrations can continue for 10 seconds." So the argument that gut was highly valued for its short time of vibration seems to be fallacious. Morover, metal strings were used in Italy on theorbos with even longer vibrating time. It can't be excluded that gut was most commonly used because it was cheapest, less problematic than silk and easiest to obtain but not necessarily for its tonal unsurpassable values. 4/Subtle sound qualities This probably should be discussed together with tonal qualities,however some people refer to it as a special, unique characteristic of gut. Again it's very subjective, however I have an impression that succesful performance depends more on imagination and sensitivity of a musician not the string material used. There is nothing subtle in gut. We make it subtle by playing it in imaginative and subtle way. 5/ sensory sensations Yes, this is probably the most valuable virtue of gut. Gut feels good, gut plays good under our fingers. It's not as slippery as nylon. 6/ecological Good way to go for those who like everything natural. It is a nice feeling that the whole instrument is 100% natural. To sum up I believe there are some important considerations in favor of gut use, however I wouldn't say that this is the only material suitable for lute strings. Unless we find with certaintenty how gut was made in past we can't pretend that the main reason for using it is to recreate an old, traditional way of playing. But even then, there is a place for new string materials which have some qualities that gut doesn't. Plastic sounds more plastic, that's obvious, but there are other adventages of using plastic. I like history, nature and subtle things, but on the other hand we can't deny we are modern. So instead of concentrating on beeing 100% HIP I prefer to concentrate on music. I use gut but for different reasons. Anyway,thank you for interesting thoughts. It was nice to talk to you again Anthony. Best wishes Jaroslaw To get on or off this list see list information at [14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://tinyurl.com/ykm8wms 2. http://www.amazon.fr/gp/product/B00285HBXO/ref=dm_dp_trk17 3. http://www.aquilacorde.com/en/researches/our-works/loading-of-gut.html?start=3 4. http://www.aquilacorde.com/en/researches/our-works/loading-of-gut/39.html 5. http://www.tabulatura.com/MESTWEB.HTM 6. http://www.er.uqam.ca/nobel/r14310/Luth/Iconographie/darthmouth.edu.wbc/Reyn-Big.jpg 7. http://idata.over-blog.com/2/01/43/65/Louvre-10/Louvre-10-0550.JPG 8. http://www.societefrancaiseshakespeare.org/document.php?id=737 9. http://www.lutesandguitars.co.uk/images/07-2005/Mace3.jpg 10. http://www.tabulatura.com/mace.jpg 11. http://www.luteshop.co.uk/Gerle1546small.jpg 12. http://library.csun.edu/igra/bios/graphics/aguado-d.gif 13. http://www.luteshop.co.uk/stringshistory.htm 14. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html