[LUTE] Re: Haslemere ms.
If anyone who is not a member of the LSA would like a copy of that Quarterly, I ahve a few spares. Email with your street address if you want a copy. Nancy At 03:13 PM 4/4/2012, Denys Stephens wrote: Dear Sean, There isn't a facsimile of the manuscript, but there is an excellent article about it by John H Robinson and some transcriptions in the Fall 2009 LSAQ. It would be worth enquiring with the Dolmetsch foundation to see if they have a microfilm. Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [[1] mailto:lute-...@cs.dartmouth.edu] On Behalf Of Sean Smith Sent: 04 April 2012 20:14 To: lute Subject: [LUTE] Haslemere ms. Jacob Heringman writes about the similarity of the scribes between the Siena ms. and a Haslemere manuscript in the booklet that accompanies his recording of the former. Is this available? "Dolmetsch Library in Haslemere (MS II C23)" many thanks in advance, Sean To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web sites - [3]www.nancycarlinassociates.com [4]www.groundsanddivisions.info Representing: FROM WALES - Crasdant & Carreg Lafar, FROM ENGLAND - Jez Lowe & Jez Lowe & The Bad Pennies, and now representing EARLY MUSIC - The Venere Lute Quartet, The Good Pennyworths & Morrongiello & Young Administrator THE LUTE SOCIETY OF AMERICA web site - [5]http://LuteSocietyofAmerica.org -- References 1. mailto:lute-...@cs.dartmouth.edu 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 3. http://www.nancycarlinassociates.com/ 4. http://www.groundsanddivisions.info/ 5. http://lutesocietyofamerica.org/
[LUTE] Re: Haslemere ms.
Dear Denys and Arthur, Thank you for the leads. I will ask about the possibility of a microfilm. It's interesting that the Haslemere is not connected to the Siena after all. Indeed the Siena looks like a professional undertaking with specific requests as to its contents and looks to be done for the most part at one sitting. I was very intrigued by the possibility of Vestiva colli and others intabulated in the same style as the vocal works in Siena. best regards, Sean On Apr 4, 2012, at 3:22 PM, A. J. Ness wrote: Dear Sean, The handwriting is NOT the same! Jacob was writing when in some quarters the mss were thought to have the same scribe. The person who made that claim realized in 1999 that he was mistaken, and has since corrected himself. The manuscript in question, by the way, is Ms II.C.23 in the Dolmetsch Library at Haslemere, which was most likely copied by several different scribes in Savona for a member of the della Robbia family, and came to Florence as dowry around 1634 when Vittoria II della Robbia (daughter of the last Duke of Urbino) married Ferdinando II dei Medici, Grand Duke of Tuscany. The Siena manuscript in The Hague is named according to information on the engraved spine on the 19th-century binding which reads "Italienische Lautentabulatur gefunden in Siena 1863 F[ranz] G[ehring--the purchaser]." It has a Siena watermark and a layer of pieces by Siennese lutenist/composers. Its careful, uniform paleography suggests that it was copied in a music scriptorium by one professional scribe. See the detailed autopsy report with concordances on the Haslemere MS made *in situ* by John H. Robinson (with notes by Robert Spencer) and published in the Dolmetsch journal *The Consort* 26 (2006). AJN. - Original Message - From: "Sean Smith" To: "lute" Sent: Wednesday, April 04, 2012 3:14 PM Subject: [LUTE] Haslemere ms. Jacob Heringman writes about the similarity of the scribes between the Siena ms. and a Haslemere manuscript in the booklet that accompanies his recording of the former. Is this available? "Dolmetsch Library in Haslemere (MS II C23)" many thanks in advance, Sean To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: miking a lute/theorbo
Well, yesss, we can take it to extremes! But four mics is really ten times better than two, and you don't need more than six, and you can make a very, very good recording with two if you are willing to spend time on the placement to get it really perfect. Fortunately, it is all going to video now, and so the audio has to be good, but not as good. No need to fill in the image, the image is there. dt __ From: Christopher Wilke To: lute@cs.dartmouth.edu; Brad Walton Sent: Wed, April 4, 2012 10:55:36 AM Subject: [LUTE] Re: miking a lute/theorbo Recipe for a really super natural lute sound: 1) Use 20-50 prohibitively expensive mics. 2) Place them at least 415 feet away from the instrument. 3) Arrange them in an incredibly intricate array involving rigging from a chemistry lab reminiscent of a bad sci-fi movie. (Be sure to record in no less than four channels.) 4) After recording, digitally manipulate the product with at least 4000 edits, taking special care to remove all aspects of the natural sound you don't actually mean to be heard (finger noises, fret buzz, the real sound your lute makes, etc.). 5) Liberally slather "La cathedrale engloutie" reverb all over the finished product. 6) Serve, relishing how your colleagues will compliment you on sounding so natural it is even better than the real thing. Chris Dr. Christopher Wilke D.M.A. Lutenist, Guitarist and Composer [1]www.christopherwilke.com --- On Tue, 4/3/12, Brad Walton <[2]gtung.wal...@utoronto.ca> wrote: From: Brad Walton <[3]gtung.wal...@utoronto.ca> Subject: [LUTE] miking a lute/theorbo To: [4]lute@cs.dartmouth.edu Date: Tuesday, April 3, 2012, 12:05 PM Hello folks, On the weekend I recorded two pieces in a professional recording studio. I was accompanying a singer on the theorbo. The recording engineer aimed two mikes quite close to the body of the theorbo. On the recording, the sound of the theorbo is very tinny and distorted, and bears almost no similarity to the natural/ acoustic sound of the instrument. Has anybody had experience with miking a lute or theorbo for recording? What mike placement gave you the best results so far as concerned fidelity to the natural sound of the instrument? Thanks, Brad To get on or off this list see list information at [1][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.christopherwilke.com/ 2. mailto:gtung.wal...@utoronto.ca 3. mailto:gtung.wal...@utoronto.ca 4. mailto:lute@cs.dartmouth.edu 5. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 6. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Re: Basic home miking a lute to computer?
A studio projects B1 is the best under $100 mic for lute. Any computer interface will provide power and connect to your computer. An eight channel Mackie Onyx Blackbird for $400 will give the possibility to expand to more mics if you wish, the same interface is available in two channels as well. __ From: Daniel Winheld To: Lute List Sent: Wed, April 4, 2012 8:50:11 AM Subject: [LUTE] Basic home miking a lute to computer? Ratcheting down to basic & cheep home miking for idiots- (or cavemen): No doubt this ground has been covered before, but I need a refresher tutorial. Opinions of the Samson C01U USB Studio Condenser for a quick, easy home recording to the iMac? I already own one, but suggestions for affordable improvements couldn't hurt. Any favorite apps/programs/software preferences welcomed. My hard drive crashed last year and I am starting from scratch all over again. (Mac OS X, version 10.6.8) I haven't recorded in a few years and am now ready to get back into action. (The single malt chaser is already taken care of. Laphroaig 18 year old) Much appreciated, Dan To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Re: miking a lute/theorbo
THAT is the way to go! i am reminded of how a Russian composer (i forget which) who'd moved to the USA after the Soviet Revolution, couldn't afford gramophone needles and made do with whatever needly-pinny-thingies he could find. when asked how he could abide such terrible sound, he said something along the lines of how the music was already in his head and he was listening not for sound quality but for emotion. or something like that. sorry, i'm a terrible storyteller - i vaguely recall reading this anecdote from Classic CD back in the early 90s, and if anyone can supply the name of the composer or the exact anecdote, please do! Edward C. Yong ky...@pacific.net.sg On 5 Apr 2012, at 2:46 AM, William Samson wrote: Alternatively, sit in front of your $5 webcam with built-in mic, do your stuff, publish it, and ignore the snooty comments :) Bill To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bach by Anna Kowalska
On 4/4/2012 1:48 PM, Leonard Williams wrote: While watching/ listening to Benjamin Narvey's wonderful performance, my attention was drawn to a YouTube performance of a Bach cello composition played by Anna Kowalska at http://www.youtube.com/watch?v=1Wi1IC6YQnM&feature=relmfu I have heard that the sarabande was a slower and stately dance, but it's hard to imagine people of the time withstanding such a potent soporific as this first piece played at this tempo. Perhaps it was meant to be in contrast to the Courante. In either case, I'm delighted by the performance. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Haslemere ms.
Dear Sean, The handwriting is NOT the same! Jacob was writing when in some quarters the mss were thought to have the same scribe. The person who made that claim realized in 1999 that he was mistaken, and has since corrected himself. The manuscript in question, by the way, is Ms II.C.23 in the Dolmetsch Library at Haslemere, which was most likely copied by several different scribes in Savona for a member of the della Robbia family, and came to Florence as dowry around 1634 when Vittoria II della Robbia (daughter of the last Duke of Urbino) married Ferdinando II dei Medici, Grand Duke of Tuscany. The Siena manuscript in The Hague is named according to information on the engraved spine on the 19th-century binding which reads "Italienische Lautentabulatur gefunden in Siena 1863 F[ranz] G[ehring--the purchaser]." It has a Siena watermark and a layer of pieces by Siennese lutenist/composers. Its careful, uniform paleography suggests that it was copied in a music scriptorium by one professional scribe. See the detailed autopsy report with concordances on the Haslemere MS made *in situ* by John H. Robinson (with notes by Robert Spencer) and published in the Dolmetsch journal *The Consort* 26 (2006). AJN. - Original Message - From: "Sean Smith" To: "lute" Sent: Wednesday, April 04, 2012 3:14 PM Subject: [LUTE] Haslemere ms. Jacob Heringman writes about the similarity of the scribes between the Siena ms. and a Haslemere manuscript in the booklet that accompanies his recording of the former. Is this available? "Dolmetsch Library in Haslemere (MS II C23)" many thanks in advance, Sean To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Haslemere ms.
Dear Sean, There isn't a facsimile of the manuscript, but there is an excellent article about it by John H Robinson and some transcriptions in the Fall 2009 LSAQ. It would be worth enquiring with the Dolmetsch foundation to see if they have a microfilm. Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Sean Smith Sent: 04 April 2012 20:14 To: lute Subject: [LUTE] Haslemere ms. Jacob Heringman writes about the similarity of the scribes between the Siena ms. and a Haslemere manuscript in the booklet that accompanies his recording of the former. Is this available? "Dolmetsch Library in Haslemere (MS II C23)" many thanks in advance, Sean To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Haslemere ms.
Jacob Heringman writes about the similarity of the scribes between the Siena ms. and a Haslemere manuscript in the booklet that accompanies his recording of the former. Is this available? "Dolmetsch Library in Haslemere (MS II C23)" many thanks in advance, Sean To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recorder and Lute
Thanks Allan, That was great! I just love this list... BTW, I just received a book and CD from you and would like to let you know how pleased I am. I bought my first couple books from you about 20 years ago (before we had such easy access to this technology...) and have just recently re-discovered you! You rock, so please keep rockin' on! :-) Best regards, Brent - Original Message From: Allan Alexander To: Lute@cs.dartmouth.edu Sent: Wed, April 4, 2012 1:05:09 PM Subject: [LUTE] Re: Recorder and Lute Helen and All > Thank you for this. Re the first link, could you tell me if the lute part > in the volumes is given in tablature? It would be really helpful to see a > sample. Lute parts are in French TAB notated in Fronimo. The recorder parts are over the lute parts, and there is also a separate insert of the recorder parts If you search my name on youtube and recorder lute you will also find many pieces played from these volumes that Trond and Ernst play on the viol for example http://www.youtube.com/watch?v=aS2aNd3jv6k Allan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recorder and Lute
Dear Mathias: The only music explicitly written for the recorder and the D-minor-lute, that I'm aware of, is a suite per flauto dolce e liuto by E.G. Baron. Interesting! Is this suite available somewhere? Perhaps even on-line in the Net? Best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: miking a lute/theorbo
Alternatively, sit in front of your $5 webcam with built-in mic, do your stuff, publish it, and ignore the snooty comments :) Bill From: Christopher Wilke To: lute@cs.dartmouth.edu; Brad Walton Sent: Wednesday, 4 April 2012, 18:55 Subject: [LUTE] Re: miking a lute/theorbo Recipe for a really super natural lute sound: 1) Use 20-50 prohibitively expensive mics. 2) Place them at least 415 feet away from the instrument. 3) Arrange them in an incredibly intricate array involving rigging from a chemistry lab reminiscent of a bad sci-fi movie. (Be sure to record in no less than four channels.) 4) After recording, digitally manipulate the product with at least 4000 edits, taking special care to remove all aspects of the natural sound you don't actually mean to be heard (finger noises, fret buzz, the real sound your lute makes, etc.). 5) Liberally slather "La cathedrale engloutie" reverb all over the finished product. 6) Serve, relishing how your colleagues will compliment you on sounding so natural it is even better than the real thing. Chris Dr. Christopher Wilke D.M.A. Lutenist, Guitarist and Composer www.christopherwilke.com --- On Tue, 4/3/12, Brad Walton <[1]gtung.wal...@utoronto.ca> wrote: From: Brad Walton <[2]gtung.wal...@utoronto.ca> Subject: [LUTE] miking a lute/theorbo To: [3]lute@cs.dartmouth.edu Date: Tuesday, April 3, 2012, 12:05 PM Hello folks, On the weekend I recorded two pieces in a professional recording studio. I was accompanying a singer on the theorbo. The recording engineer aimed two mikes quite close to the body of the theorbo. On the recording, the sound of the theorbo is very tinny and distorted, and bears almost no similarity to the natural/ acoustic sound of the instrument. Has anybody had experience with miking a lute or theorbo for recording? What mike placement gave you the best results so far as concerned fidelity to the natural sound of the instrument? Thanks, Brad To get on or off this list see list information at [1][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:gtung.wal...@utoronto.ca 2. mailto:gtung.wal...@utoronto.ca 3. mailto:lute@cs.dartmouth.edu 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: miking a lute/theorbo
Very clever, Chris! Is this from experience? ed At 12:55 PM 4/4/2012, Christopher Wilke wrote: > Recipe for a really super natural lute sound: >1) Use 20-50 prohibitively expensive mics. >2) Place them at least 415 feet away from the instrument. >3) Arrange them in an incredibly intricate array involving rigging from >a chemistry lab reminiscent of a bad sci-fi movie. (Be sure to record >in no less than four channels.) >4) After recording, digitally manipulate the product with at least 4000 >edits, taking special care to remove all aspects of the natural sound >you don't actually mean to be heard (finger noises, fret buzz, the real >sound your lute makes, etc.). >5) Liberally slather "La cathedrale engloutie" reverb all over the >finished product. >6) Serve, relishing how your colleagues will compliment you on sounding >so natural it is even better than the real thing. >Chris >Dr. Christopher Wilke D.M.A. >Lutenist, Guitarist and Composer >www.christopherwilke.com >--- On Tue, 4/3/12, Brad Walton wrote: > > From: Brad Walton > Subject: [LUTE] miking a lute/theorbo > To: lute@cs.dartmouth.edu > Date: Tuesday, April 3, 2012, 12:05 PM > >Hello folks, >On the weekend I recorded two pieces in a professional recording >studio. I was accompanying a singer on the theorbo. The recording >engineer aimed two mikes quite close to the body of the theorbo. >On the recording, the sound of the theorbo is very tinny and distorted, >and bears almost no similarity to the natural/ acoustic sound of the >instrument. >Has anybody had experience with miking a lute or theorbo for >recording? What mike placement gave you the best results so far as >concerned fidelity to the natural sound of the instrument? >Thanks, >Brad >To get on or off this list see list information at >[1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >-- > >References > >1. 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 http://magnatune.com/artists/edward_martin
[LUTE] Re: miking a lute/theorbo
didn't want to be the first to say it, but me tooLOL A Bruno On Wed, Apr 4, 2012 at 2:04 PM, Toby <[1]t...@tobiah.org> wrote: Just a silly observation: I keep reading this subject as "Milking a lute...". To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- A Bruno Cognyl-Fournier A [3]www.estavel.org A -- References 1. mailto:t...@tobiah.org 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 3. http://www.estavel.org/
[LUTE] Re: miking a lute/theorbo
Recipe for a really super natural lute sound: 1) Use 20-50 prohibitively expensive mics. 2) Place them at least 415 feet away from the instrument. 3) Arrange them in an incredibly intricate array involving rigging from a chemistry lab reminiscent of a bad sci-fi movie. (Be sure to record in no less than four channels.) 4) After recording, digitally manipulate the product with at least 4000 edits, taking special care to remove all aspects of the natural sound you don't actually mean to be heard (finger noises, fret buzz, the real sound your lute makes, etc.). 5) Liberally slather "La cathedrale engloutie" reverb all over the finished product. 6) Serve, relishing how your colleagues will compliment you on sounding so natural it is even better than the real thing. Chris Dr. Christopher Wilke D.M.A. Lutenist, Guitarist and Composer www.christopherwilke.com --- On Tue, 4/3/12, Brad Walton wrote: From: Brad Walton Subject: [LUTE] miking a lute/theorbo To: lute@cs.dartmouth.edu Date: Tuesday, April 3, 2012, 12:05 PM Hello folks, On the weekend I recorded two pieces in a professional recording studio. I was accompanying a singer on the theorbo. The recording engineer aimed two mikes quite close to the body of the theorbo. On the recording, the sound of the theorbo is very tinny and distorted, and bears almost no similarity to the natural/ acoustic sound of the instrument. Has anybody had experience with miking a lute or theorbo for recording? What mike placement gave you the best results so far as concerned fidelity to the natural sound of the instrument? Thanks, Brad To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recorder and Lute
Helen and All > Thank you for this. Re the first link, could you tell me if the lute part > in the volumes is given in tablature? It would be really helpful to see a > sample. Lute parts are in French TAB notated in Fronimo. The recorder parts are over the lute parts, and there is also a separate insert of the recorder parts If you search my name on youtube and recorder lute you will also find many pieces played from these volumes that Trond and Ernst play on the viol for example http://www.youtube.com/watch?v=aS2aNd3jv6k Allan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recorder and Lute
>> How are the timelines of these instruments related, and what pieces >> include both instruments? > > Are you asking what music was originally specified by the composer > for an instrumentation that included lute and recorder? > > Or what music can be done with a combination that includes lute and > recorder? Both, I suppose. I was thinking that the combination seems natural, though I don't hear them together very often. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Basic home miking a lute to computer?
Ratcheting down to basic & cheep home miking for idiots- (or cavemen): No doubt this ground has been covered before, but I need a refresher tutorial. Opinions of the Samson C01U USB Studio Condenser for a quick, easy home recording to the iMac? I already own one, but suggestions for affordable improvements couldn't hurt. Any favorite apps/programs/software preferences welcomed. My hard drive crashed last year and I am starting from scratch all over again. (Mac OS X, version 10.6.8) I haven't recorded in a few years and am now ready to get back into action. (The single malt chaser is already taken care of. Laphroaig 18 year old) Much appreciated, Dan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recorder and Lute
Recorder and Lute http://guitarandlute.com/recorder.html http://www.youtube.com/watch?v=rCD4xnmwEEk http://www.youtube.com/watch?v=pQpYFyl_QP0 There are many others Allan > The problems I've found in playing consort music (on lute) with recorders, is > that > commonly recorders are sounding an octave above written pitch. If the lute > is on a > top or middle line, recorders playing a lower line may be sounding above the > lute; not > good for the harmony. Consequently, I'm often asked to play the bottom line, > which is > not always the best range for the lute. This applies to Renaissance and > earlier part > music; Baroque is no doubt a different matter. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recorder and Lute
The problems I've found in playing consort music (on lute) with recorders, is that commonly recorders are sounding an octave above written pitch. If the lute is on a top or middle line, recorders playing a lower line may be sounding above the lute; not good for the harmony. Consequently, I'm often asked to play the bottom line, which is not always the best range for the lute. This applies to Renaissance and earlier part music; Baroque is no doubt a different matter. Ned On Apr 4, 2012, at 6:49 AM, Mathias Rösel wrote: >> How are the timelines of these instruments related, and what pieces > include >> both instruments? > > During the renaissance era, recorder and lute players could join for any > music, provided the compasses of the instruments weren't exceeded, as > composers would not specify which instruments could execute their (mostly > vocal) music. > > The same applies for the baroque, more or less. There is distinct music for > the recorder and thorough bass, though, and probably more than one of the > several lute instruments may suit for the thorough bass (D-minor-lute, > archlute, theorobos). > > The only music explicitly written for the recorder and the D-minor-lute, > that I'm aware of, is a suite per flauto dolce e liuto by E.G. Baron. > > Mathias > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Benjamin Narvey YouTubeSFL
Thank you for posting this, Anthony. (No, Youtube can't do complete justice to the sound, but I do hope that most in our group have a decent set of headphones so that they can get the most out of the sound that is on Youtube, and other recordings. A nominal investment, considering the improvement gained over most computer-speaker sound). Ned. On Apr 4, 2012, at 9:47 AM, Anthony Hind wrote: > Dear Lutenists > Here is a link to a recording made by the SFL, at the recent > SFL meeting, of Benjamin Narvey playing Weiss and de Visee on a 70cm > Warwick 13c rider Warwick Frei with all gut stringing : loaded Venice > basses and Nick Baldock octaves, Meanes (except for 5c which are > Venice), and Trebles. > Obviously the YouTube recording can't do justice to Benjamin's sound, > but it gives an idea. > http://www.youtube.com/watch?v=imHiP6bf6lE > Regards > Anthony > > > Trustworthiness: > Vendor reliability: > Privacy: > Child safety: > > -- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Benjamin Narvey YouTubeSFL
>SFL meeting, of Benjamin Narvey playing Weiss and de Visee on a 70cm >Warwick 13c rider Warwick Frei with all gut stringing : loaded Venice >basses and Nick Baldock octaves, Meanes (except for 5c which are >Venice), and Trebles. >Obviously the YouTube recording can't do justice to Benjamin's sound, >but it gives an idea. >http://www.youtube.com/watch?v=imHiP6bf6lE Thanks for sharing, Anthony! VERY nice! Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Benjamin Narvey YouTubeSFL
Dear Lutenists Here is a link to a recording made by the SFL, at the recent SFL meeting, of Benjamin Narvey playing Weiss and de Visee on a 70cm Warwick 13c rider Warwick Frei with all gut stringing : loaded Venice basses and Nick Baldock octaves, Meanes (except for 5c which are Venice), and Trebles. Obviously the YouTube recording can't do justice to Benjamin's sound, but it gives an idea. http://www.youtube.com/watch?v=imHiP6bf6lE Regards Anthony Trustworthiness: Vendor reliability: Privacy: Child safety: -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Miking a lute/theorbo
Dear Brad, You can hear that tinny, brittle, distorted sound if you put your ear right up to the ribs of the lute as you play it. (It's easier with a lute than a theorbo.) A mike placed very close to the instrument will capture some of that tinny sound. If you listen to a lute or theorbo from 6-9 feet away, the sound will be totally different - the sound we expect to hear. It makes sense then, if you want a more natural sound, to put the mike two or three yards away from the instrument. Best wishes, Stewart McCoy. -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Brad Walton Sent: 03 April 2012 17:06 To: lute@cs.dartmouth.edu Subject: [LUTE] miking a lute/theorbo Hello folks, On the weekend I recorded two pieces in a professional recording studio. I was accompanying a singer on the theorbo. The recording engineer aimed two mikes quite close to the body of the theorbo. On the recording, the sound of the theorbo is very tinny and distorted, and bears almost no similarity to the natural/ acoustic sound of the instrument. Has anybody had experience with miking a lute or theorbo for recording? What mike placement gave you the best results so far as concerned fidelity to the natural sound of the instrument? Thanks, Brad To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Recorder and Lute
> How are the timelines of these instruments related, and what pieces include > both instruments? During the renaissance era, recorder and lute players could join for any music, provided the compasses of the instruments weren't exceeded, as composers would not specify which instruments could execute their (mostly vocal) music. The same applies for the baroque, more or less. There is distinct music for the recorder and thorough bass, though, and probably more than one of the several lute instruments may suit for the thorough bass (D-minor-lute, archlute, theorobos). The only music explicitly written for the recorder and the D-minor-lute, that I'm aware of, is a suite per flauto dolce e liuto by E.G. Baron. Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
