if the image is on another site, presumably it is there to be viewed ,if not
downloaded? The first person to ask would be the webmaster(s) of the
relevant sites. They may be delighted to have further links to their site(s)
and may have already ensured that any copyright protection is embedded in
th
Hi all,
Nigel Solomon wrote:
> Benjamin Stehr wrote:
> >Do the others on this list change the strings on their instruments
>> between 415 and 440?
>
> Big instruments like theorbos don't seem to mind being tuned up or
> down a semi-tone, a slightly harder or weaker tension doesn't make
> mu
This isn't my field of law, and copyright is deservedly a specialty unto it's
own, but here in the US, and I suspect in most of the rest of the world,
putting a c in a circle is pretty much meaningless. Copyright is your legal
right to your work. It occurs the moment you create that work. You do
Howard, or any one else
I was just wondering what the legal situation is about putting a
link to a Jpeg, of a painting including a lute, when the photo on the
site has a copyright symbol on it.
Can linking your explanation to a photo that is "copyrighted"
infringe the photographer's rights,
End of Tuning blues,
http://www.gibson.com/robotguitar/RobotGuitarVideoVoting.aspx
hope they will develop it soon for lute. ;-)
lute on
we
Nigel Solomon schrieb:
Benjamin Stehr wrote:
Hi Steward,
i choosed a tension that works well in 440 on the extension of my
theorbo.
Changing to 415 ca
Hi, all,
I'm new to the forum, but have been around lutes long enough to remember FoMRHI
in the original. I just wanted to direct people to the Jean-Francois Delcamp
guitar forum site for their useful discussion of copyright and file sharing:
http://www.delcamp.net/forum/en/viewtopic.php?f=7&t
I'll try that David
Le 20 nov. 07 à 12:32, Daniel Winheld a écrit :
Not me- keep the gimps; and if the Korg keeps giving you trouble tell
it you're taking it out for coffee again...
Any ideas about this. Yes I know you are going to tell me to swap my
gimped for wirewounds!!!
and that the Korg
Benjamin Stehr wrote:
Hi Steward,
i choosed a tension that works well in 440 on the extension of my theorbo.
Changing to 415 caused the 8th course to touch the fretboard when playing
very loud, but putting something under the saddle on the extension (about
1mm) increased the forward pull on the
On Nov 20, 2007, at 2:24 AM, Stuart Walsh wrote:
> Martyn Hodgson wrote:
>>Following recent communications which mentioned FoMRHI, I
>> contacted Eph Segerman and include the relevant part of his reply
>> below.
>> In short, anything in FoMRHI not specifcally restricted as
>> detail
Hi Steward,
i choosed a tension that works well in 440 on the extension of my theorbo.
Changing to 415 caused the 8th course to touch the fretboard when playing
very loud, but putting something under the saddle on the extension (about
1mm) increased the forward pull on the extension so that this i
There are 75 articles on the lute.
- Original Message -
From: "Martyn Hodgson" <[EMAIL PROTECTED]>
To: "Lute Net"
Sent: Tuesday, November 20, 2007 10:26 AM
Subject: [LUTE] FoMRHI - copyright and a rebirth?
Following recent communications which mentioned FoMRHI, I contacted Eph
Se
Here's a content index.
http://www.xs4all.nl/~stremen/fomrhi.html#1975-11
- Original Message -
From: "Martyn Hodgson" <[EMAIL PROTECTED]>
To: "Lute Net"
Sent: Tuesday, November 20, 2007 10:26 AM
Subject: [LUTE] FoMRHI - copyright and a rebirth?
Following recent communications whi
Not me- keep the gimps; and if the Korg keeps giving you trouble tell
it you're taking it out for coffee again...
>Any ideas about this. Yes I know you are going to tell me to swap my
>gimped for wirewounds!!!
>and that the Korg is telling me that the string has gone false
>
>One big problem wit
Dear All
After leaving my bag in a motorway cajé with papers some music and
Korg OT12 tuner, I was forced, while waiting for it to be sent on to
me. (There are some honest people about!), to use my equal
temperament Zen-on Chromatina 331 tuner. I bought this 20 years ago.
Yes I know I sho
>In case someone doesn't know it, there's an enjoyable paper by Ross
Duffin online:
"Why I hate Valotti (or is it Young?)":
http://music.cwru.edu/duffin/
Regards, Stephan
How nice to be validated! Thank you so much for the above reference-
great article. When I was actively messing around with
>In case someone doesn't know it, there's an enjoyable paper by Ross
>Duffin online:
>"Why I hate Valotti (or is it Young?)":
>http://music.cwru.edu/duffin/
>Regards, Stephan
How nice to be validated! Thank you so much for the above reference-
great article. When I was actively messing around wi
Some random things to try
1. Make sure the tension is right, I use Wikla's immortal string
calculator (now runs in my telephone).
2. Get a good tuner.
3. In the dark night of lute tuning discombobulation, tune a unison
to the string a fourth below, then slowly crank it up a fourth.
Sometime
A must read.
Just say no to Valotti.
http://music.cwru.edu/duffin/
dt
At 03:56 PM 11/19/2007, you wrote:
>In case someone doesn't know it, there's an enjoyable paper by Ross
>Duffin online:
>
>"Why I hate Valotti (or is it Young?)":
>http://music.cwru.edu/duffin/
>
>Regards,
>
>Stephan
>
>
>Am
Martyn Hodgson wrote:
Following recent communications which mentioned FoMRHI, I contacted Eph Segerman and include the relevant part of his reply below.
In short, anything in FoMRHI not specifcally restricted as detailed below seems to be able to be freely reproduced and circulated.
Martyn
Both those statements sound wonderful news, if they are followed
by any effect.
I have heard so much about FoMRHI, and have people quote from it, but
missed out on it completely. How excellent if it can be relaunched,
so long as there is the same dynamic available now for such
d
Following recent communications which mentioned FoMRHI, I contacted Eph
Segerman and include the relevant part of his reply below.
In short, anything in FoMRHI not specifcally restricted as detailed below
seems to be able to be freely reproduced and circulated.
MH
Ephraim Seg
On the French list, Carlos Gonzalez, luthier, says he always frets a
lute with the same material as its strings: gut with gut, nylgut with
nylgut, carbon with carbon, etc.
He first sand-papers the carbon. The difficulty is tightening the
fret sufficiently.
This does seem a logical way of goin
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