[LUTE] Re: Slightly off-topic
On Sep 2, 2012, at 9:41 PM, Ed Durbrow wrote: > I have no answers for you, but I always wondered what the meaning of that > edged tools line was. Is it just a general kind of saying that was popular > then, don't play with sharp things as you can cut yourself, or is there > another meaning or pun I'm missing? I had always assumed it was using "tool" in the sense of "penis," but I couldn't swear that usage goes back that far. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Over the Dyke, and kisse her ladie, mr. Beck's way
.. well, more Balcarres ... the piece is beautiful. Could of course be played more cleanly. Just in case somebody is interested: http://www.youtube.com/watch?v=fVnkBa1hdQc&feature=youtu.be http://vimeo.com/48826023 Best, Arto On 02/09/12 21:55, Arto Wikla wrote: Dear lutenists, my "weekend project" was to play some Scottish, Celtic sounding small pieces by "Mr. Beck" of the Balcarres manuscript. In a way mostly the music is not technically very difficult, but on the other hand, musically it certainly is not easy! In case someone is interested, the three pieces of my weekend are Joy to the Person of my love, mr. Beck's way (ms. Balcarres 59) http://www.youtube.com/watch?v=4h3B6kimdNI&feature=youtu.be http://vimeo.com/48612640 Rothymay's lilt, mr. Beck's way (ms. Balcarres 73) http://www.youtube.com/watch?v=S2e8-YP9bgA&feature=youtu.be http://vimeo.com/48655228 The black ewe, by mr. Beck (ms. Balcarres 76) http://www.youtube.com/watch?v=p7cy1eEKXUM&feature=youtu.be http://vimeo.com/48698296 The period and place are very interesting: little by little the tonality is creeping into the modal, and even more or less pentatonic music! That was a fruitful mixture! All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Digital Download Program
Dear Fellow Lute Music Lovers, We read e-mail after e-mail about new recordings being posted to the web. Tracks, new and old, that are closely held may be wonderful, but who will know. To get to the public, that is searching for this music, one must associate with a global site [ [1]www.arabesquerecords.com ]. There is never a fee to an artist or group when dealing with Arabesque Recordings, LLC. Our section featuring harpsichord has over 35 releases and is growing. The same should be true for Lute. Please contact us for details. Information is always freely given. See our ad in Lute Quarterly. Sincerely, Marvin Marvin M. Reiss Arabesque Recordings, LLC 60 East 42^nd Street Suite 2028 New York, New York 10165 (212) 730-5000 phone (212) 730-8316 fax [2]mar...@arabesquerecords.com e-mail -- References 1. http://www.arabesquerecords.com/ 2. mailto:mar...@arabesquerecords.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: What's the historical reason for the bent down peg box?
On archlutes, theorbos, baroque guitars etc. I've often had problems with strings not sitting absolutely perfectly in the grooves on the nut, causing less clarity and sustain and (in extreme cases) buzzing. These problems are more likely to arise if I experiment with different guages or types of string, in which case the nut sometimes has to be redone. Since the strings on instruments with bent-back pegboxes are held primarily by the pressure on the nut rather by than the grooves themselves, such problems almost never occur. Sam On 4 September 2012 09:53, andy butler <[1]akbut...@tiscali.co.uk> wrote: [2]t...@heartistrymusic.com wrote: I mentioned this to a friend who is not a musician, but a brilliant scientist. His immediate reaction was that the sharp angle of the string going over the nut to a right angle pegbox would have the same effect as a pulley in reducing the amount of pressure in lbs per square inch on the pegs - thereby making it much easier to tune and reducing stress on the whole pegbox. I respectfully suggest your friend is brilliant in a different field to engineering. In engineering terms it's simple enough. A pulley doesn't change the amount of tension in the string that goes round it. Apart from the different shape itself, the difference made by having the pegboard perpendicular is that the nut is held in place very firmly. andy To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Sam Chapman Oetlingerstrasse 65 4057 Basel (0041) 79 530 39 91 -- References 1. mailto:akbut...@tiscali.co.uk 2. mailto:t...@heartistrymusic.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Tuner
Yes, I also got the ST-122a some time ago. It's an extremely well-designed and robust piece of kit and in terms of accuracy and functionality I don't think you can beat it for the price. It seems to be virtually the only thing Sonic Research produces, and they clearly pour a huge amount of effort into making it as good as it can be - quite a different story from the plastic Korg tuners that most people seem to use. By programming the tuning of my theorbo and setting the tuner to manual (so that "Theorbo Man" appears on the display!) I've been able to use it in orchestras even without a contact microphone. I used to have a TLA strobe tuner but had to sell it since, while it was great for keyboard instruments, it couldn't really pick up the sound of the lute properly. The TurboTuner is the opposite: perfect for lutes, but picks up the sound of harpsichords less well (no problem with organs though). The only other criticisms I have is that it can't produce sound and it can't do piano curves, though I have a cheap tuner that can do the former and I rarely need the latter. Also, you have to get used to people asking you what the flashing lights are all about... Buy one! Sam On 3 September 2012 22:50, Edward Mast <[1]nedma...@aol.com> wrote: When I went to order mine a few moths ago, the ST-122 was indeed out of stock and out of production. But it has been replaced by the ST-122a, a very similar but slightly "upgraded" version. I'm very happy with it also. On Sep 3, 2012, at 1:14 PM, R. Mattes wrote: > On Mon, 3 Sep 2012 09:22:11 -0400, William Brohinsky wrote >> I have one. I have had it for a few years. For piano tuning, it is >> not a choice. >> >> For just about everything else, it is wonderful. >> > > Please correct me if I'm wrong - but isn't this tuner out of stock > since _years_? > > -- > R. Mattes - > Hochschule fuer Musik Freiburg > [2]r...@inm.mh-freiburg.de > > > > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Sam Chapman Oetlingerstrasse 65 4057 Basel (0041) 79 530 39 91 -- References 1. mailto:nedma...@aol.com 2. mailto:r...@inm.mh-freiburg.de 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: String wear/ technique
Dear David and Gary, Thanks for the tips. I don't think it's a problem with the tension - I have only about 3.5kg on all my fingerboard strings at the moment! I'll check my frets again though - the first fret is quite thick (1.2mm) so that might be causing a hump as Gary points out. I use Kuerschner fret gut which is very tough but quite inflexible, so perhaps that's adding to the problem. In any case, I was planning to lower the action at the nut anyway, so I'll try lowering the nut and putting on thinner frets. If that doesn't work I'll check for fret-mashing. Could be that I'm tying the frets too tight, causing them to stretch out at the bend. I've tried filing down frets in the past but have never got it to work - usually just makes things worse in my experience! All the best, Sam On 1 September 2012 15:04, Gary R. Boye <[1]boy...@appstate.edu> wrote: Sam, This may be another shot in the dark, but when you tie frets, sometimes there is a small hump in the fret where the flat part bends around to the back of the neck, even if the frets are really tight. A slightly bulging fret at this bend could cause buzzing and it's likely to cause it on the 1st course, closest to where the fret bends. That's one of the reasons nylon frets are so difficult to work with, IMO, as well as the very thick gut frets. If there is a slight gap with the fingerboard where the fret curves around neck, you could have a high point. I've been able to just file it down a bit and make things work--it's that or lose the fret entirely (which costs $$). And sometimes the opposite occurs: the fret gets sort of mashed and stretched out at the bent point. Then you could have a low point and buzzing when fretting . . . Gary -- Dr. Gary R. Boye Professor and Music Librarian Appalachian State University On 31 August 2012 23:13, Sam Chapman <[2]manchap...@gmail.com> wrote: Interesting. I don't have an answer, but I have a problem of my own: when I string my theorbo with gut, the 1st course always becomes untrue rapidly and starts to buzz against the frets, long before I have such problems on the other strings. Even if the string is fine when I put it on, within as little as a few hours it can be more or less unusable whereas I can play the other courses for several weeks or months before such problems develop. The action is normal and though I use very low tension now, I've had the same problem with higher tension strings too. I've tried many makes of string and it's the same with all of them. I'm wondering if there's a problem with the way the neck is set up, or if it's something about the way I pluck that particular string that causes it to become untrue. Or perhaps it's the way I tie the frets (though they're tight and I don't see any obvious problems there)? It's a Jacobsen theorbo, 84cm, about 20 years old. Any ideas? All the best, Sam To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Sam Chapman Oetlingerstrasse 65 4057 Basel (0041) 79 530 39 91 -- References 1. mailto:boy...@appstate.edu 2. mailto:manchap...@gmail.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: What's the historical reason for the bent down peg box?
t...@heartistrymusic.com wrote: I mentioned this to a friend who is not a musician, but a brilliant scientist. His immediate reaction was that the sharp angle of the string going over the nut to a right angle pegbox would have the same effect as a pulley in reducing the amount of pressure in lbs per square inch on the pegs - thereby making it much easier to tune and reducing stress on the whole pegbox. I respectfully suggest your friend is brilliant in a different field to engineering. In engineering terms it's simple enough. A pulley doesn't change the amount of tension in the string that goes round it. Apart from the different shape itself, the difference made by having the pegboard perpendicular is that the nut is held in place very firmly. andy To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: What's the historical reason for the bent down peg box?
I don't quite understand this - perhaps your friend is thinking of a geared pulley system? By the application of simple statics surely the tension on the string from the nut to the bridge must equal that from the nut to the peg if the system is to be in equilibrium (ignoring for the nonce the effects of static friction which, as Howard Posner has pointed out, may be very considerable). And surely the critical parameter to ensure a peg is stable is the twisting moment on the peg and the static frictional drag between it and the peghole required to combat the moment: I'm not sure what he means by pressure (in lbs per sq in) on the pegs. MH --- On Tue, 4/9/12, t...@heartistrymusic.com wrote: From: t...@heartistrymusic.com Subject: [LUTE] Re: What's the historical reason for the bent down peg box? To: "Edward Mast" , "Martyn Hodgson" Cc: "Lute Dmth" Date: Tuesday, 4 September, 2012, 3:58 I mentioned this to a friend who is not a musician, but a brilliant scientist. His immediate reaction was that the sharp angle of the string going over the nut to a right angle pegbox would have the same effect as a pulley in reducing the amount of pressure in lbs per square inch on the pegs - thereby making it much easier to tune and reducing stress on the whole pegbox. This makes great sense to me. >Glued joints can, of course, fail for a variety of reasons: >including a poorly made joint and the glue gelling before the joint >being held firm/clamped. > >Interestingly, as an indication of the stress on the long >extensions of theorboes and archlutes: they bend and rise after a >time and some remedial action is often necessary to return them to >a reasonable playable state; but in my experience the joint itself >rarely fails... > >MH >--- On Mon, 3/9/12, Edward Mast <[1]nedma...@aol.com> wrote: > > From: Edward Mast <[2]nedma...@aol.com> > Subject: Re: [LUTE] Re: What's the historical reason for the bent > down peg box? To: "Martyn Hodgson" <[3]hodgsonmar...@yahoo.co.uk> > Date: Monday, 3 September, 2012, 14:48 > >Well, so much for assumptions. Thank you, Martyn. I would only >add that, having had the peg box come loose three times on my 8 >course instrument, I still feel more confidence in the glue joint >with the peg box being angled than I would in a straight neck-peg >box glue joint. > >On Sep 3, 2012, at 3:23 AM, Martyn Hodgson wrote: > >The neck and peghead of the theorbo is in two seperate pieces and >are, indeed, glued together at the join. > >MH > >-- > > > To get on or off this list see list information at > [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Tom Draughon Heartistry Music [5]http://www.heartistrymusic.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362 -- References 1. http://us.mc817.mail.yahoo.com/mc/compose?to=nedma...@aol.com 2. http://us.mc817.mail.yahoo.com/mc/compose?to=nedma...@aol.com 3. http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 5. http://www.heartistrymusic.com/artists/tom.html
