A few years ago, I saw one of the gold gimped strings. It was beautiful. I have not asked Dan Larson about them for years, but I can imagine that now the cost would be absolutely prohibitive. But now he uses Sterling silver with the gut, and I can tell the difference as compared to copper gimped... they do sound clearer and warmer.
I have never had problems in the past, with mixing various kinds of gut basses. If the string vibrates truly and is the proper tension, I do not notice all that much difference in the sound, if one has a good gut octave. I think a person listening could probably not tell the difference in sound, but the performer perhaps can. ed At 04:29 PM 12/20/2010, Anthony Hind wrote: > Dear Dan and Ed > Thank you so much for your suggestions. I am sure either the > silver wirewound or the gimped would work, and are both excellent > strings in their own right. And yes, had there been a gold gimped, I > dare say I would have tried them on C11 and D10 (if I could have > afforded them). How lucky Dan to have been able to try one of those (or > perhaps not, as I imagine, now, you will never quite be satisfied with > lesser strings). > $ > Actually, I even remember that Paul Beier and Jakob Lindberg, at one > time mixed the old loaded and gimped strings, as well as Pistoys (as > Dan found he could without problem); but I don't think that works quite > so well with the low impedance Venice ones, which as we have all > discussed, are harmonically very different. > $ > I feel, because of this, a tonal break should be more problematic > (almost from a theoretical point of view) than a slight tension > inequality; even though I would prefer to avoid either. > $ > Whereas, I would have liked C11 220C and D10 200C, I will probably go > for a temporary drop in Kg and use D10 190C (but with a slightly higher > tensed octave as compensation), or use a rise to D10 210c (with a > slightly lower tensed octave). Until, of course, Mimmo can make more > loaded strings. > These two strings were actually available (one at B&N and the other at > Wolfgang's). > They won't be spot on, but I think it might be more the global tension > of the course, than that of the single string, which imports most; and > that will give me a chance to see if this hypothesis/hunch is right. > Thanks again, > Anthony > __________________________________________________________________ > > De : Daniel Winheld <dwinh...@comcast.net> > A : Anthony Hind <agno3ph...@yahoo.com> > Envoye le : Lun 20 decembre 2010, 22h 25min 01s > Objet : [LUTE] Re: New Nylgut test as Chanterelle > Anthony, I don't know if this would be of any use to you, but I have > found one (and only this one!) type of close-wound overspun string to > sound acceptable on my Baroque lute- and it is the one with SOLID > silver, not silver plated wire. Until I can get the new loaded strings > for my lute, I will continue to use the solid silver overspun classical > guitar D (4th) string for the 11-C, and the (bass rider) 12-B/B-flat. > For the 13-A I use a solid silver bass viola da gamba string, most > likely a 5-G. These are all old strings, and although the viol string > has a gut core vs. the nylon floss guitar string core, it must be the > solid silver making them sound virtually identical; and they transition > acceptably from the Savarez KFG 10-D, especially played in context, and > paired with the right octave string, which helps mask the change. > I would imagine that a classical guitar A-5 might substitute for a 200c > loaded. Or the right viol string, probably a 5-G like mine. As far as I > know, only E. & O. Mari ever made the solid silver wound guitar > strings, and I don't know if they still do. Viol strings ought to be > easy to find, however. The ends do take some labor intensive > modification to go through bridge and peg holes, viols being set up so > differently. Just a last resort possibility. > Dan > > I should add that I am, myself, a little frustrated as I can't get > a > > 200c loaded string for love or money. I really need this string to > > operate a tweak on my Baroque lute. I managed to find all the > others, I > > needed at B&N in London, or at Wolfgang's in Paris. > > Yet, I quite understand that Mimmo can't spend time making loaded > > strings, and also get the NNG up to speed. There are a number of > > things, including gut strings, and the basic research, that only > Mimmo > > can do; but there are limits to what he can do simultaneously. > > Regards > > Anthony > > > -- > > -- > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 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
