+1!
Another factor is old strings elasticity. It was discussed many times before,
but non of the arguments seem to be conclusive.
Were old strings so elastic that tying them in bundles did not affect gut
structure? I don’t know.
Anyway this is what Aquilla site says:
n 16th and 17th Century
Like.A
On Sunday, May 17, 2015, Martin Shepherd [1]mar...@luteshop.co.uk
wrote:
A A No, it doesn't - that's part of the myth.
A A This has interesting implications for our usual thinking about
string
A A tensions in general - I think we are still using tensions
Hi,
changing the tension of the string you change the velocity of the wave
on it. Given the fixed wavelength the result is another frequency:
velocity = wavelength x frequency
The velocity of the wave in relation to the tension: c^2 ~ tension
Result: more tension - little
in other words:
a string with lower tension is easier to tune
Dieter
David wrote:
This implies that increasing the tension would
make the string be less sensitive to changes if frequency due to change
in tension - i.e. easier to tune.
To get on or off this list see list
To get a tone on a string there is a standing wave whose wavelenth
(half of the wavelength) is fixed by the distance between saddle and
bridge. The string's tension, weight and the wavelength give the
frequency. To tune the string you change the tension until you reach
the desired
On 20.10.2011, at 21:27, Gert de Vries wrote:
Chanterelle I have
d'd' is 0,54
aa is 0,68
ff is 0,82
cc is 104 D
G-g is 136 D - 0,73
g' probably 0.42
d' 0.51
a 0.64
f 0.77
c 0.98
Gg 1.28/0.69
--
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Unfortunately, nlygut isn't made in all sizes.
For the .51 listed below use .52
For .77 use .79
for the .98 type D use 100
For .69 nylgut 6th course octave use .70
I, personally would use a 132 type D for the 6th course fundamental, but
128 is available.
Ken
On 10/20/2011 12:49 PM, Gernot
At 63 cm. with those string sizes I'd say you are already a bit on the high
side, tension wise. I would never take 63 cm. up to 440 with those strings
without clearing the safety issue with the builder. You don't want the bridge
going on vacation while your builder is on vacation. I like Dan
I find that nylgut stretches and thins out, so it helps to go with a
little bit bigger string than the equivalent gut string to get a similar
tension. I'm not sure about the new nylgut, though. It's supposed to
stretch less.
Ken
On 10/20/2011 1:25 PM, Daniel Winheld wrote:
At 63 cm. with
New nylgut stretches less. Go no thicker than gut.
On Oct 20, 2011, at 1:33 PM, Ken Brodkey wrote:
I find that nylgut stretches and thins out, so it helps to go with a little
bit bigger string than the equivalent gut string to get a similar tension.
I'm not sure about the new nylgut,
Try Arto Wikla's calculator: it allows calculations with a variety of string
materials, as well as tensions, mensurs and pitches.
http://www.cs.helsinki.fi/u/wikla/mus/NewScalc/
Leonard
On 10/20/11 3:27 PM, Gert de Vries desge...@xs4all.nl wrote:
Dear all,
I have a little problem, my lute
I think one problem will be getting a chanterelle that won't break with
a 63cm scale and tuned to g at a440. Gut probably wouldn't last very
long, but synthetics would be OK. I support the advice you've been
given about making sure the tension isn't too much. If I remember
That's my experience, plus carbon is resistant to very large spotlights.
d
At 02:47 PM 4/21/2010, you wrote:
Nylgut doesn't stop strechting.
Nylon does strech a bit (remember those guitar strings that always
need to be tuned up?).
Carbon does not strech.
Gut hardly streches, it just breaks. ;-)
No, it doesn't.
ed
At 12:11 AM 4/21/2010, Bruno Correia wrote:
Isn't nylon going to stretch as well?
Edward Martin
2817 East 2nd Street
Duluth, Minnesota 55812
e-mail: e...@gamutstrings.com
voice: (218) 728-1202
http://www.facebook.com/profile.php?id=1660298871ref=name
Edward Martin wrote:
No, it doesn't.
ed
At 12:11 AM 4/21/2010, Bruno Correia wrote:
Isn't nylon going to stretch as well?
That runs totally counter to my experience with nylon strings. Nylon is
very stretchy stuff whether made into strings or fishing line or rope or
Nylgut.
Stephen,
Nylon does stretch a bit. But if you haven't seen it you wouldn't believe how
much Nylgut stretches. Which is actually not made of Nylon=polyamide but of
polyester. It is 10 times worse than nylon in this respect.
g
On 21.04.2010, at 15:39, Stephen Fryer wrote:
Edward Martin wrote:
Nylgut doesn't stop strechting.
Nylon does strech a bit (remember those guitar strings that always
need to be tuned up?).
Carbon does not strech.
Gut hardly streches, it just breaks. ;-)
My 2 eurocents of experience.
David
--
***
David van Ooijen
My experience on the smaller diameter courses:
As gut ages it goes sharp on the upper frets.
As Nylgut ages it goes flat on the upper frets though I only notice
this on the smaller diameter (chanterelle 4th 8ve) strings.
At different rates, of course.
s
On Apr 21, 2010, at 2:47 PM,
The very problem is that you are using nylgut for your
trebles. Nylgut is a polymer, and it is in a constant state of
stretch, and therefore, it becomes smaller diameter in time, as you
have discovered.
If you have this 59 cm lute at G at 440, you must use a 0.46. in
order to end up with a
Martin,
Well, 0,46 is really high, I have at the moment 0,44 and the lute
sounds at its limit. Gut sounded the best with a gauge of 0,42, nylon
not so much (0,47) and pvf not good at all (0,37).
Isn't nylon going to stretch as well?
2010/4/21 Edward Martin
Great thread- thanks, guys. These are the two gems that I will try to
remember:
The result is that certain historical instruments perform a scholarly
disappearing act because the terminology has been regularized.
There is so much 20th century baroque performance practice (I
I re-read this quote (Big D/Besard):
Secondly, set on your Bases, in that place which you call the sixt
string, or
vi; these Bases must be of one bignes, yet it hath beene a generall
custome
(although not so much used any where as here in England) to set a
small and a
great string
Hi David,
--- On Fri, 3/26/10, David van Ooijen davidvanooi...@gmail.com wrote:
From: David van Ooijen davidvanooi...@gmail.com
Subject: [LUTE] Re: String tension
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Date: Friday, March 26, 2010, 4:50 PM
On Fri, Mar 26, 2010 at 8:17 PM
27, 2010 2:10 PM
Subject: [LUTE] Re: String tension
I re-read this quote (Big D/Besard):
Secondly, set on your Bases, in that place which you call the sixt
string, or
vi; these Bases must be of one bignes, yet it hath beene a generall
custome
(although not so much used any where as here
On Mar 27, 2010, at 7:10 AM, Lynda Kraar wrote:
I re-read this quote (Big D/Besard):
Secondly, set on your Bases, in that place which you call the sixt string, or
vi; these Bases must be of one bignes, yet it hath beene a generall custome
(although not so much used any where as here in
.
Cynically yours
Monica
- Original Message -
From: chriswi...@yahoo.com
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu; David van Ooijen
davidvanooi...@gmail.com
Sent: Saturday, March 27, 2010 2:52 PM
Subject: [LUTE] Re: String tension - HIP
Hi David,
--- On Fri, 3/26/10, David van Ooijen
On Mar 27, 2010, at 8:04 AM, Monica Hall wrote:
Dowland is probably being a bit pedantic here objecting to the consecutive
octaves. It is not really any different from organ stops which go in
octaves.
It's not consecutive octaves, but the re-entrant effect that's the problem. On
an
Dear Monica, I think you have the very right definition of HIP !
;-)))
Val
-Message d'origine-
De : lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] De la part
de Monica Hall
Objet : [LUTE] Re: String tension - HIP
I say hear! hear! to this. Or Here! here!.
As Richard
--- On Fri, 3/26/10, David van Ooijen davidvanooi...@gmail.com wrote:
There is so much 20th century baroque performance practice
(I call it
the esperanto early music style) around that is not hip
whatsoever.
To which chriswi...@yahoo.com wrote:
I'm a little confused with the way the term
Dear David,
That is exactly the point, an early music audience unconsciously expects the
performers to do to everything possible to present the music in an historically
informed or inspired fashion. That is the name of the game, that is label that
we use to sell our wares. I expect if you
From: Mark Wheeler l...@pantagruel.de
Dear David,
That is exactly the point, an early music audience unconsciously expects
the performers to do to everything possible to present the music in an
historically informed or inspired fashion.
In your case the correct word would be couture.
RT
.
Monica
- Original Message - From: Lynda Kraar lyndakr...@aol.com
To: Lute list lute@cs.dartmouth.edu
Sent: Saturday, March 27, 2010 2:10 PM
Subject: [LUTE] Re: String tension
I re-read this quote (Big D/Besard):
Secondly, set on your Bases, in that place which you call the sixt
string
From a totally non-scholarly point of view - just using my ears and my
own musical taste - I would never use octaves on any course that I
might be playing thumb-index alternately. So, for me, only courses
below the sixth.
Ned
--
To get on or off this list see list
Hi Ned and List
On Sat, 27 Mar 2010 17:09:22 EDT, nedma...@aol.com wrote:
From a totally non-scholarly point of view - just using my ears and my
own musical taste - I would never use octaves on any course that I
might be playing thumb-index alternately. So, for me, only courses
Yes, I know of just a few in Europe who are doing this. I'm not sure
I would say quite a few, it is still rare, especially here in the US.
There are some nice pictures on the website of relative string sizes.
I prefer Mimmo's gallery of the originals, but it is good to compare
what we are using
On Fri, Mar 26, 2010 at 8:17 PM, David Tayler vidan...@sbcglobal.net wrote:
Yes, I know of just a few in Europe who are doing this. I'm not sure
I would say quite a few, it is still rare, especially here in the US.
There are quite a lot of occasions where I play with all-gut on the
bowed
Nice photo of the strings. I especially like the broken treble and
bass string on the lute!
ed
Exactly when that metal string started appearing on the lowest note
of the cello is an interesting topic all by itself.
If you look at this amazing painting
On Mar 24, 2010, at 2:48 PM, David Tayler wrote:
I've yet to play in an orchestra where the violins used all gut
strings on all four strings, as was the practice of the time, but it
will happen, I think.
This aroused my curiosity, so I posted a question to the early music list, and,
as
On Mar 24, 2010, at 10:36 AM, nedma...@aol.com wrote:
In working my way through David Talyer's graduate thesis on Dowland
(great fun) I came across the statement regarding Dowland's stringing
(p.82): The very highest string, tuned as high as it could stand
(modern players,
Thanks, Howard. These directions do leave a lot to one's
interpretation.
Ned
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I don't know if I would write the same thing today,
hopefully something better, but it would probably be pretty close. I
think the conclusion, that it all gets softer as you head for the
bass, is right. But maybe they had special strings that evened it out
a bit, but the top string would have
Is there a link to Paul Beier's string calculator? I haven't tried it, but
I would like to look at it.
Jim Parker
- Original Message -
From: Stephen Arndt stephenar...@earthlink.net
To: lute@cs.dartmouth.edu
Sent: Saturday, July 04, 2009 9:29 AM
Subject: [LUTE] String Tension
Dear Ed,
A few questions:
On Sep 30, 2007, at 11:37 AM, Edward Martin wrote:
If one lowers the tension to 2/3 of conventional stringing, the
looser
strings will be easier to pluck on the bridge, and they will not sound
bright and harshly brittle.
Just to get some idea of how loose you
Well for horsepower you need a ampifier :) But even a 200 watt amp is
less than one horsepower (a HP is about 750W if I remember correctly), so
you probably need a BIG PA system - one of those 2500 W jobs - for about 3
HP, lol.
On Friday 07 July 2006 21:26, Doctor Oakroot wrote:
To get
Dear lutenists, I have been very confused lately about the right string
tension for my lute. For a 8 course lute in g 59 cm, what would be the
avarage tension in kg? All the courses must have the same tension?
Have the patience to read all,
To get tension in kg, divide the N by g (gravitational acceleration at the
surface of the Earth) or about 9.8 m/sec2. (My physics is a little rusty;
someone who knows some physics please advise if I got that wrong).
And yes, I know measuring tension in kg is silly, but people still do it.
Dear
On Friday 07 July 2006 21:26, Doctor Oakroot wrote:
To get tension in kg, divide the N by g (gravitational acceleration at the
surface of the Earth) or about 9.8 m/sec2. (My physics is a little rusty;
someone who knows some physics please advise if I got that wrong).
And yes, I know measuring
Wow--I just popped a gut (literally) with recent huge drops in humidity. It
had been rather steamy for some time here in southeast Pennsylvania. I
guess I could have kept my tuning on the flat side, because when the air
dried, the treble popped overnight in my case. (Air conditioning in my
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