Nice version Ron!
your's is a little bumpier than my version for 6 course, as you use a few more
dotted notes than I, but otherwise they're very similar. Looking good for
performance!
Best wishes
G.
- Original Message -
From: Ron Andrico
To: [EMAIL PROTECTED] ;
I don't think the sound of carbon is that great even when treated
with a bit of sanding, but I use them when I play under high
intensity spotlights, which is I'm afraid where most of the concerts
are these dayslights and A/C.
There is nothing as good as gut, especially for the ornaments.
dt
At 01:42 PM 11/3/2007 +0100, Anthony Hind wrote:
Also he mentions the question of the octaves on the lower courses
having been historically about half the tension of the basses
themselves.
6. Octave strings: the modern tendency is to apply a noticeably
lower tension than on their respective
Le 3 nov. 07 à 14:08, Edward Martin a écrit :
At 01:42 PM 11/3/2007 +0100, Anthony Hind wrote:
Also he mentions the question of the octaves on the lower courses
having been historically about half the tension of the basses
themselves.
6. Octave strings: the modern tendency is to apply a
Why would you want a thinner Pistoy? If you want that, it would be best,
in my opinion, to also lower the octave tension play overall with light
tension.
In my experience, to merely put on a smaller diameter Pistoy, or other
plain gut, would not sound any brighter.
ed
At 02:37 PM
Actually, I also wonder whether the arguments for low tension
stringing (Satoh) are not similar to those in favour of loaded
strings (MP). Both argue in relation to small historic lute holes.
The main difference is that MP argues also from the colour of the
strings in paintings.
Another
Dear all,
just a new work on the lute historical stringings:
http://www.aquilacorde.com/lutes.htm
Maybe it help to open some new excange of ideas...
Ciao
Mimmo
Interesting article and I'm very much interested in the new production of the
loaded gut strings even after yesterdays
Taco
It would be better, if Mimmo Peruffo would answer this, and perhaps
he will.
However, I heard them and saw them on Mimmo Peruffo's bass lute,
through Skype, and as far as I could hear and see in such a context
they did seem good.
I have an M-Audio Transit plus JBL on Tour speakers
PS. #73 has an identical beginning as 2 of Molinaro's fantasias.
Neither remarkable nor much of a coincidence.
The first three or four notes are a formula known in Italy as, if I
recall correctly, the canzona francese. Pieces based on it were
common--Giovanni Gabrieli was
