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
Apologies for allowing the incomplete message to shoot forth
Dear Martyn
I tend to see methods for reducing the inharmonicity of a string
as simply ways of lowering its impedance to bending while maintaining
its weight: either a) by increasing its elasticity or b) by improving
Dear Martyn
I tend to see reducing inharmonicity of a string as lowering its
impedance to bending while maintaining its weight.
[1]Sent from Yahoo Mail for iPhone
Le vendredi, février 3, 2017, 4:52 PM, Martyn Hodgson
a écrit :
Dear Anthony,
I may well have mi
Dear Anthony,
I may well have misunderstood the point you make
'and the extra diameter beyond the bridge behaving similarly to
loading, but as though the loading were more of the same material'
- surely the physical characteristics of a string largely determine the
sound - else w
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
relat
Thinning the string probably does weaken it, but since the strings in
question are way below their breaking strain that would never be a
problem. I have not tried thinning at the nut, but I suspect if it
could be done it might improve the sound still further. There is
something to
By thinning them at the bridge, Martin, I suppose this allows the
diapason to be "seen" (as it were) at the bridge as a thinish loaded
string. The effective resonating diameter being that passing through
the hole and the extra diameter beyond the bridge behaving similarly to
loading,
Just to explain:
When I said roped strings were dull compared to plain gut I was talking
only about relatively thin strings, say .80-.90mm.
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.
Thanks Jaroslaw,
good report indeed.
Actually I have not in mind the business side, it is just my love for such
instrument, passion, i mean.
In short, I would like to do something that is 'emotional'. Hared toi
explain, it is something related to me and my feel when I hear a Lute. The
Bac
> Now, the question is what is your goal in making CD strings. If you aim at
> finding a substitute for gut strings than stiffer strings would be better.
I am
> used to gut basses so I like short sustain and a little bit stiffer
string. If
> someone played only overwounds he/she would probably pref
Mimmo,
> You experience is that a roped string is duller than a plain gut? I have the
> contrary. Maybe it is necessary to know how the roped string was done. Mine
> is a roped string made with two fresh 'brins' twisted like as rope and then
> polished. In practice our Venices.
Yes, I use you
Personally I love the singing sustain of the ones I have on my lute
now, but for many lutenists the elasticity is difficult to deal with,
both in terms of how it calls for a change in playing technique, and
also how they tend to stick on the nut. However, I also loved my loaded
Venic
Ok martin
to say all: I have already tried such stiffer 'rubbers' (ah ah): increasing
the stiffness at the same metal powder quantity the sound became step by
step darker with less sustain. Using the most elastic 'rubber' the sound
open a lot but the string became too stretchly.
You experience
Thanks, Mimmo.
I agree absolutely that there is no need to make versions of these
strings thinner than .80mm.
The issue of damping is perhaps the one which worries me most. In the
case of roped strings, they sound duller than a plain gut string of the
same size, presumably because of intern
Thank you very much about all these helpfull suggestions, guys.
actually the gauges from 80 CD till 105CD are made half loaded using also a
stiffer elastomer. This combination is perfect fo the tonl trasiction
betweenj pure gut/nylon/Nylgut to a wound strings, KF or CDs etc etc.
I call this ra
Tout à fait d'accord, Matthew.
I would add that "trueness" is not just a question of intonation when
notes are fretted. A false string never sounds in tune even as an open
string, and the pattern of vibration makes it buzz against the frets.
If your string heights are high enough that this i
Dear Mimmo,
In my opinion there are two factors which need to be given priority even before
judging the sound of a string. Firstly it has to be true (with no problems of
intonation going up the fingerboard for stopped strings) and secondly it has to
be playable: on a well-made and well set up lu
Once again Mimmo, many thanks for all your efforts and for taking the
trouble to listen to us out here!
I much liked your old loaded gut and I still have some on various lutes
(including the 6th course of a large theorbo where it smooths the
transition to the long basses). Close to t
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