So true, Ed. It's especially noticable on that C major chord:

---
---
-d-
-c-
-e-
-f-

And then when the nylgut octave goes false _down_ and the fundamental goes false _up_ it's really time to change strings ...or stop playing anything that uses that combination. Unfortunately there's the analagous F chord one string over that's used even more.


Sean



On Jul 11, 2010, at 10:10 AM, Edward Martin wrote:

Thanks Sean and David.

Although I am predominantly a gut player, I occasionally get this
problem at the 6th course, 3rd fret.  I use a Pistoy gut fundamental,
and a treble gut (plain) octave.  When new, they are the most true
strings I have tried.

The most usual problem starts when the 3rd octave goes false...
usually, after a year or less.  So, if the 6th course goes false, in
most instances a new octave solves the problem.  Because the Pistoy
is so true for a gut string, (because it is a highly flexible
string), it makes a beautiful sound and excellent intonation.  Never
perfect, but it is closer than anything else I have ever tried.

ed



At 10:36 AM 7/11/2010, Sean Smith wrote:

I'm starting to agree w/ Ed more on the idea that a monofilament
nylgut rings at more than one frequency, confounding the ear and tuner
box. Ironically, I think the near perfect smoothness and controlled
diameter do this. It is very near perfect when manufactured and
unstretched but changes unevenly when tension is applied. When the
string is first struck its natural period of length/diameter/tension
is dominant. Over time (of length of the ringing note) other factors
(uneven diameters) come into play creating the discrepant tone or
warble. This is less prevalent in heavier strings over longer lengths
(theorbo basses) but will be more noticable on higher tension thin
strings (chanterelles); i.e. the greater the ratio of tension to
diameter (greater tension : smaller diameter) the more the 'warble'.
You are noticing it on the 6th course because you have a solid tone
right beside it.

Guts, otoh, either stretch more evenly or somehow cover for their
discrepant tones. Nylon, being more stable, keeps its diameters over
length more evenly. Unfortunately, nylon is a little too dense for
general lute use.

I recently went all gut for a short 1/4 meantone project and was
happily amazed at the ease of tuning. (Hooray, 5th fret chanterelle in tune against its 3rd course 8ve every time!!) It's hard to financially
justify this for any length of time since the little guts have their
own shorter half life. So for practicing and noncritical playing I'm
living w/ the wolves. They don't howl but they do whine.

Sean




On Jul 11, 2010, at 7:37 AM, Edward Martin wrote:

Hello, Peter.

You have received many excellent responses, and I think that all
those who wrote are correct.  Before you go to the effort to alter
the mechanical set-up of your lute, I would start with strings.  One
of the reasons that I do not like nylgut is that to my ear, it often
sounds out of tune. I suspect you may have false strings. Perhaps a
gut octave would work better... or perhaps, a new 6th course might
help.

ed





At 01:19 AM 7/11/2010, Peter Ruskoff wrote:
 All right, lute gurus.  This question has been plaguing me since I
 started playing the lute about 2 years ago.  The reason I always
 hesitated asking on this list is because of the length required to
 explain whats going on.  I apologize in advance for the length.
 I have an 8c Ren. lute made by LK Brown.  Nice lute.  But my 6th
course
 (g course) will NOT fret in tune.  Only my 6th course.  The octave
 always sounds to flat against the fundamental when tuned with an
 electronic tuner or against the chantarelle.  Always.  Please
note that
 we are talking about maybe 3 or 4 cents out of tune here (which is
 PLENTY out of tune when talking about octaves), but technically
nothing
 huge.
 My frets are fine and have been changed 3 times in two years.
There is
 nothing wrong with the neck, and since the out of tune severity is
 IDENTICAL anywhere on the neck, it tells me it has nothing to do
with
 string diameters either.  Though currently it is strung in Nylgut
type
 D for fundamental and plain for the octave (my favorite sound), I
have
 tried everything from unwound gut to savarez overwounds to
carbonfiber
 in every possible combination.  None of the strings are false.
 Everything gives a near identical result, even with the extreme
 diameter differences of unwound gut.
 Again let me reiterate: when tuning with an electronic tuner, my
6th
 course octave always sounds flat.  "Well, just tune it sharper to
solve
 the problem," you say.  "Electronic tuners aren't perfect."  This
is
 very true.  But here's the kicker: the string it ISN'T flat, both
 according to my electronic tuner and other G notes around the
lute.  In
 other words, when I fret a note, say Bb (3rd fret) on the 6th
course,
 it will give the distinct unpleasant warble of being a few cents
out of
 tune and the octave sounds flat.  But when I check it against
say, the
 Bb on the first fret of the third course, OR the electronic
tuner, it
 is CLEARLY NOT FLAT.  When I make the string sharper to get rid
of the
 warble, the string is (surprise) too sharp.  And I have to get
pretty
 darn sharp before it sounds too sharp.
 What the heck is going on here?  While I don't have perfect
pitch, I am
 darn close (one of the reasons I stopped playing guitar is my
disgust
 with being locked into equal temperament), and I refuse to
believe my
 ear is the problem for one string on one course on one lute.  How
can
 it both be flat and not flat at the same time?  Remember, I'm not
 talking about temperaments or anything,  I'm talking about the one
 course simply not fretting in tune.
 The ONLY thing I can possibly think of--and this seems to be a
bit of a
stretch--is some kind of issue with the overtones on my instrument.
 Maybe some kind of wolf?  But why would it be the same problem on
the
 first fret as the third?  Or the fifth?  Or the eighth?  It makes
no
 sense.  A wolf is a problem in one area of an instrument, not the
whole
 range of a string.
 The 'best' solution I can come up with (and how I've been playing
for 2
 years) is to split the difference: I tune my g fundamental
slightly too
 flat, my octave slightly too sharp, the mean of the two pitches
around
 where an in tune g should be.  It's a decent solution, but there's
 still that unpleasant "warble" that sends up red flags in my ears
that
 screams OUT OF TUNE.  It's frustrating.  Remember, to get rid of
the
warble, I have to tune the octave so sharp it becomes unusable when
 playing more than just that course by itself, which is all the
time.
 Unfortunately I have no teacher or anyone who lives within
hundreds of
 miles of me who even owns a lute (dang American Southwest).  I
have a
 violinist fried to whom I can demonstrate this problem (her ear is
 excellent) and while she hears it (yay I'm not crazy), she
doesn't know
the first things about lutes in general, let alone how to solve the
 problem.
 Does anyone have any pearls of wisdom on this subject?  I've
never seen
 it discussed before.  Is there something I'm missing?  Am I SOL?
Is
 every g octave string I've owned simply evil?  I'd love this to be
 finally put to rest.
 Again, thanks in advance.
 --


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Edward Martin
2817 East 2nd Street
Duluth, Minnesota  55812
e-mail:  e...@gamutstrings.com
voice:  (218) 728-1202
http://www.facebook.com/profile.php?id=1660298871&ref=name
http://www.myspace.com/edslute






Edward Martin
2817 East 2nd Street
Duluth, Minnesota  55812
e-mail:  e...@gamutstrings.com
voice:  (218) 728-1202
http://www.facebook.com/profile.php?id=1660298871&ref=name
http://www.myspace.com/edslute





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