Thanks JarosÃ
aw
Whereas professional loaded basses users were forced to look for
reliable replacements (experimenting Gimped, pure gut, ropes or
otherwise), I was just keeping my old loaded basses going and lost
contact with the various As an ex-phonetician factors in sound
production, the various bass string hypotheses do interest me, but as a
complete lutenist amateur amateur thought I could just keep my old
Venice loaded going, swapping worn ones for new old stock early HT gut
loaded. While Professionals, I knew, needing good repeatable stringing
experimented with Gimped, pure gut (ropes or HT), or KF basses, I kept
putting off the inevitable. A friend successfully swapped his loaded to
Dan Larson's silver Gimped, and then I "gave in" and was just about to
try a set myself, when Mimmo brought out his new synthetic loaded, and
of course I had to try them (my Gimped still in my lute case). So for a
time just a bystander while others experimented.
Had the Gimped not worked for me I would have tried Venice basses (as
Ed Martin reported successfully using pure Pistoys), but thought the
silver Gimped would work better with my set up (I listened with
interest to Dan L.'s recordings of lutes using either pure Pistoys or
Gimped basses). I was thinking about all this, but just didn't get
round to doing anything about it. I did follow recent debates on the
French list concerning the KF whittled down and used at low tensions,
and also a recent article by Charles Besnainou on his air core basses
(proving the wealth of different experiments on lute basses of which I
have been partly aware, so not completely out of things).
In respect to Venices, perhaps your differenceh of appreciation,
compared to Martin, could result from your using them at different
tensions: I imagine they would not work well at the low tensions Martin
may perhaps have tried them. Indeed I use my Venice octaves at a higher
tension than my , basses, and love them in that use.
On the question of more or less sustain on basses, I suppose we all
adapt by tweaking our styles and tensions to our string choices; but
just the fact that French lutenists sought out vintage lutes, could
according to Jakob Lindberg's experience with the Rauwolf, imply
articulate sustain was very important to them, and so possibly also for
their basses? perhaps ...
Best wishes
Anthony
Le samedi, février 4, 2017, 11:49 AM, JarosÃ
aw Lipski
a écrit :
Hello Anthony,
I am fine, thank you. I haven't heard from you for a while, but it's
nice to see you on our lute list again :)
Actually I meant KF strings. String ends have to be split (whittled if
you like), otherwise they are so stiff that tying them would be very
difficult. Also they wouldn't form a proper knot and initial point of
vibration would be further away from the bridge. In general this kind
of problem is characteristic for very stiff strings. Fortunately
Venices due to their rope construction are much more pliable, so there
is no problem with attaching them at the bridge.
Best wishes
Jaroslaw
> On 04 Feb 2017, at 00:20, Anthony Hind wrote:
>
> Hello Jaroslaw
>I hope things are going well with you.
> When you say of your Venice, "Yes, mine have split ends at the
bridge." Do you mean you have managed to separate the ends of the twine
and pass them separately through the bridge hole?
> This is what Charles Besnainou does with his spring twines. This
results probably in a lower impedance in the same way as Martin's
whittled down KFs, I would suppose?
> Best wishes
> Anthony
>
>
> Sent from Yahoo Mail for iPhone <[1]https://yho.com/footer0>
>
> Le vendredi, février 3, 2017, 4:45 PM, JarosÃ
aw Lipski
mailto:jaroslawlip...@wp.pl>> a écrit :
>
> Martin,
>
> > When I said roped strings were dull compared to plain gut I was
talking only about relatively thin strings, say .80-.90mm.
>
> I tried both thicker and thinner Aquilla Venice ropes and even on 4th
course they sound brighter than plain gut IMHO. But, this discussion
only shows how relative our sound perception is.
> >
> > For the KF strings, the high tensions which many people want to use
will not work because the thicker KF strings are really too thick and
stiff to work. On the 11th course of an 11c lute I would use nothing
larger than 1.50mm (actual diameter). I'm using .95 for the 6th
course.
> >
>
> I am using 1.60 on 11th course and it works fine for me. But again
it's a matter of taste.
>
> > Another factor with KF strings is the importance of thinning them
where they go through the bridge and wrap over themselves in front of
the bridge. If you don't do this, the sound will be dull and you will
probably get problems with the strings buzzing against the
