Re: # 2 lute question
Changing the area of the opening will effect the Helmholtz resonance. If you sing a rising tone over the sound hole of your lute you will find a certain note that gets very much louder. (damp the strings) i did it: my old lute responsed at C my new one at D with damped strings. w.
Re: # 2 lute question
I dug up my calculations. The lute I was studying has an internal volume of about 10.7 liters. I modeled an 80mm rose diameter that was 30% to 75% open by the pattern.chosen. The openness of the rose would tune the Helmholtz resonance from 109 Hz -closed pattern to 139 Hz for an open pattern. Bill - Original Message - From: WIWO [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, December 10, 2003 11:46 PM Subject: Re: # 2 lute question Changing the area of the opening will effect the Helmholtz resonance. If you sing a rising tone over the sound hole of your lute you will find a certain note that gets very much louder. (damp the strings) i did it: my old lute responsed at C my new one at D with damped strings. w.
Re: # 2 lute question
Changing the area of the opening will effect the Helmholtz resonance. If you sing a rising tone over the sound hole of your lute you will find a certain note that gets very much louder. (damp the strings) The specific note you get is determined by the balance of the internal air volume of the lute and the small volume of air in the rose itself. I worked it all out once, and have forgotten my conclusions. Bill - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, December 09, 2003 7:28 PM Subject: Re: # 2 lute question In a message dated 12/9/03 8:56:33 PM Eastern Standard Time, [EMAIL PROTECTED] writes: How does the carved rosette affect the tone? Several lute makers have mentioned to me that it does not affect the tone. Certainly, I have not noticed the difference between baroque guitars with and without ornamental roses, for example. However, I would suspect that there IS a slight difference, even an improvement, in tone with a carved rosette since it requires some small bars to be glued underneath the super thin rosette part of the lute's soundboard which must affect the sound. Kenneth --
Re: # 2 lute question
In a message dated 12/9/03 8:56:33 PM Eastern Standard Time, [EMAIL PROTECTED] writes: How does the carved rosette affect the tone? Several lute makers have mentioned to me that it does not affect the tone. Certainly, I have not noticed the difference between baroque guitars with and without ornamental roses, for example. However, I would suspect that there IS a slight difference, even an improvement, in tone with a carved rosette since it requires some small bars to be glued underneath the super thin rosette part of the lute's soundboard which must affect the sound. Kenneth --
Re: # 2 lute question
Kenneth, The rosette would have an effect on the sound of the lute, simply by it's size. The larger the openning, the more it lowers the air space resonance, and the smaller the opening the higher the air space resonance. That's why one sees three rosettes on therobos as they wanted to emphasize the bass. I'm sure the historic lute builders were intuitively aware of this. You can also observe this on guitars in relation to lutes. Guitars are much more fundamental sounding, and lutes are more nasal sounding, thus emphasizing the higher spectrum. Michael Thames Luthier www.ThamesClassicalGuitars.com Site design by Natalina Calia-Thames - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, December 09, 2003 9:28 PM Subject: Re: # 2 lute question In a message dated 12/9/03 8:56:33 PM Eastern Standard Time, [EMAIL PROTECTED] writes: How does the carved rosette affect the tone? Several lute makers have mentioned to me that it does not affect the tone. Certainly, I have not noticed the difference between baroque guitars with and without ornamental roses, for example. However, I would suspect that there IS a slight difference, even an improvement, in tone with a carved rosette since it requires some small bars to be glued underneath the super thin rosette part of the lute's soundboard which must affect the sound. Kenneth --
Re: # 2 lute question
Kenneth, I think your lute makers are right, the small bars are not enough to make a difference in the overall resonation. A small vignette, on the harp list we have seen beginners who (without benefit of instruction, or even a picture) play the harp backwards, as they want to aim the sound holes to the audience. There are no sound holes on harps, there are holes in the back to allow access to change the strings if they break. As all the bridged instruments have sound holes, be they fs or rosettes, I think that they may be necessary, but the slight stiffening of the board around the rosette shouldn't have any noticable effect. On my psaltery, my mountain dulcimer, and my bowed psaltery I cut the fancy hole directly into the soundboard with no rosette, on the lute kit I had precut round holes and made rosettes to fit with a small circular backing. No way it stiffens the sound board. Best, Jon - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, December 09, 2003 10:28 PM Subject: Re: # 2 lute question In a message dated 12/9/03 8:56:33 PM Eastern Standard Time, [EMAIL PROTECTED] writes: How does the carved rosette affect the tone? Several lute makers have mentioned to me that it does not affect the tone. Certainly, I have not noticed the difference between baroque guitars with and without ornamental roses, for example. However, I would suspect that there IS a slight difference, even an improvement, in tone with a carved rosette since it requires some small bars to be glued underneath the super thin rosette part of the lute's soundboard which must affect the sound. Kenneth --
