only gives
solution for chords, not to play a B.C., and also dedicated to the
harpsichord (did Delair even play the theorbo?). The others
(Grenerin,
Fleury,...) work with re-entrant tuning, even if the solutions
could
be
strange for us (but what about
).
The
only strange book of Delair gives the impression that the tuning
could
be not re-entrant: but it's a quite basic book, which only gives
solution for chords, not to play a B.C., and also dedicated to the
harpsichord (did Delair even play the theorbo?). The others
, at Weiss' time: lute, arciliuto
and theorbo. And it is not a question of label, it's a question of
tuning and quantity of noise it produces!
Le Mardi 28 janvier 2014 2h41, David Tayler vidan...@sbcglobal.net a
ecrit
This doesn't address the point I made to you: that the fundamental
difference between the archlute and the theorbo is in the manner of
stringing - theorbos have the top one or two courses lowered from
nominal; archlutes do not. If you don't think this is the case then, to
repeat
To: lute lute@cs.dartmouth.edu
Sent: Tuesday, 28 January 2014, 1:35
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
__
This is a very interesting quote because it falls in between the
classical
best galant music. He also states that he plays a sort of adjusted
lute instrument in orchestra and church. Most probably this was a d
minor German theorbo, without the highest string (but this is an
assumption only, that is strengthened by Baron).
He criticises that theorbos often - he even says
On Tue, 28 Jan 2014 09:59:29 + (GMT), Martyn Hodgson wrote
This doesn't address the point I made to you: that the fundamental
difference between the archlute and the theorbo is in the manner
of stringing - theorbos have the top one or two courses lowered
from nominal; archlutes do
style doesn't
replace the older style - it coexists with it for quite some time).
It might be interesting to study _why_ theorbo/archlute aren't capable
to play galant music (I have my theories but the unfortunately margins of
this email are too small to elaborate ...;-)
He also states that he
__
From: R. Mattes r...@mh-freiburg.de
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; David Tayler
vidan...@sbcglobal.net; lute lute@cs.dartmouth.edu
Sent: Tuesday, 28 January 2014, 11:22
Subject: Re: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
On Tue, 28 Jan
not provide an empirically reliable metric to determine pitch or tuning
based upon string length.
Beyond that, I'm wondering what exactly the overall point of this
conversation is. If the object is to determine whether certain
composers expected archlute or theorbo to the exclusion
Subject: RE: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
Iconographic sources depict theorbos and/or archlutes with highly
variable numbers of courses and stringing setups. Unfortunately we have
no way of knowing how any particular instrument was tuned. Modern gut,
since its
Am 28.01.2014 12:36, schrieb R. Mattes:
On Tue, 28 Jan 2014 11:56:46 +0100, Markus Lutz wrote
He criticises that theorbos often - he even says ordinarily -
are played with nails and therefore have a coarse, harsh sound
(also primarily his opinion!).
Hmm, that's not what he writes - he
.
But, o.k., since you threw it in: just out of curiosity, did you
recently read that article? Let's start with page 408:
Defining the differences between the chitarrone, theorbo and archlute
has always been difficult. Mersenne (1637) was confused, and few
readers of his book on instruments seem to have
hodgsonmar...@yahoo.co.uk
Sent: Tuesday, 28 January 2014, 16:57
Subject: Re: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
On Tue, 28 Jan 2014 11:35:20 + (GMT), Martyn Hodgson wrote
Have a look at:
This is either a non-answer (how utterly Zen) or pretty close to an
(ad hominem
On Tue, 28 Jan 2014 17:10:18 + (GMT), Martyn Hodgson wrote
I'm sorry you find Bob Spencer's paper so very poor.
No need to be sorry, esp. since I don't find Spencer's paper very poor
(where did I write
that?). I only tied to say that it a) shows it's age b) seems to be an
overview-type of
whether certain
composers expected archlute or theorbo to the exclusion of the other,
the historical evidence is inconclusive.
Chris[1]
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On Tue, 28 Jan 2014 09:36:47 -0800, Dan Winheld wrote
Chris-
Modern gut,since its characteristics are quiet different from
historical gut, does not provide an empirically reliable metric to
determine pitch or tuning based upon string length.
This bit I find very interesting. Except for the
In a letter to Johann Mattheson written in 1723 Weiss describes the
lutes he used:
a|.I am of the opinion that after the keyboard there is no more
perfect instrument than this one (the lute) especially for
Galanterie. The theorbo and Arciliuto, which are quite different
or group of instruments, like the double strung theorbo.
One could try to argue that the terms are highly specific, and I would
then simply direct people to the the lists of CDs over the last forty
years, and you can see different fads about what is an archlute,
chitarrone and so
labels must
be invented and applied (the Weiss Theorbo, etc.) or one could stay
away from the labels
d
In a letter to Johann Mattheson written in 1723 Weiss describes the
lutes he used:
a|.I am of the opinion that after the keyboard there is no more
perfect instrument
__
From: David Tayler vidan...@sbcglobal.net
To: lute lute@cs.dartmouth.edu
Sent: Friday, 24 January 2014, 19:14
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
The terms arciliuto and tiorba are high-degree interchangeable.
That is, they are not low or medium
Dear Jean Michel,
Yes; interesting! We are only talking about Corelli's Op. 1 (Opp. 2-4
all call for archlute according to surviving editions--no mention of
theorbo there). I suppose this could either reflect common practice in a
city (Rome vs. Bologna/Venice) or publisher preference. Or just
Corelli's Op. 1 (Opp. 2-4
all call for archlute according to surviving editions--no mention of
theorbo there). I suppose this could either reflect common practice in
a
city (Rome vs. Bologna/Venice) or publisher preference. Or just
happenstance--what editions the publishers happened
On 24/01/14 9:19 AM, Gary R. Boye wrote:
Yes; interesting! We are only talking about Corelli's Op. 1 (Opp. 2-4
all call for archlute according to surviving editions--no mention of
theorbo there). I suppose this could either reflect common practice in a
city (Rome vs. Bologna/Venice) or publisher
; LuteNet list
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
great, Gary!Thank you for this sum up. I searched some weeks ago on
RISM with the key arciliuto and so on. Apart for its use in Roma
(and +?), it's outstanding that you find arciliuto obligato in Dresden
's opera
in specific cases. For every case, there will be an
exception. There are certainly some interesting specific cases. So
either what we call the theorbo or the archlute could be used to play
just the single notes of a bass part, or chords, or continuo, or any of
a million shades in between
13:56:14 -0800
To: jeanmichel.catheri...@yahoo.com; boy...@appstate.edu;
hodgsonmar...@yahoo.co.uk; r...@mh-freiburg.de; edurb...@gmail.com;
lute@cs.dartmouth.edu
From: arthurjn...@verizon.net
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
Yes, and some of those
On 12/01/14 12:42 AM, heiman.dan...@juno.com wrote:
Instrument(s) for sale:http://bit.ly/1ddztq7 If I count correctly,
this instrument has1 single chanterelle + 4 double courses on the
fingerboard9 single courses on the extension. Is there any
historical, modern or practical justification for
Hi, Daniel, Geoff, and all.
I believe current thinking is that this is a version of a chitarrone
francese. Stephen Barber and Sandi Harris offer their version in
their catalog (No. 21):
[1]http://www.lutesandguitars.co.uk/htm/cat10.htm with the famous
painting and a concise
On 12/01/2014 13:21, Geoff Gaherty wrote:
On 12/01/14 12:42 AM, heiman.dan...@juno.com wrote:
Instrument(s) for sale:http://bit.ly/1ddztq7 If I count correctly,
this instrument has1 single chanterelle + 4 double courses on the
fingerboard9 single courses on the extension. Is there any
Bravo, Stuart!
On 12/01/2014 23:06, WALSH STUART wrote:
As you say:
quite heavily built and rather odd designs. Presumably the makers in
Pakistan - or wherever - are simply meeting the brief thay have been
given. Ebay 'lute' is flooded with these things: odd, bizarre, heavily
built, 'needs
Instrument(s) for sale:http://bit.ly/1ddztq7 If I count correctly, this
instrument has1 single chanterelle + 4 double courses on the fingerboard9
single courses on the extension. Is there any historical, modern or practical
justification for this configuration?In other words, does there exist
Well said, John! I agree entirely with what you say. Are you planning
to live any longer than people typically did in the 16th C?
Martin
On 04/10/2013 07:17, John Lenti wrote:
Speaking as a full-time theorbo player, I feel that I can say with some
authority that the theorbo cannot be held
: Thigh support for theorbo
Well said, John! I agree entirely with what you say. Are you planning
to live any longer than people typically did in the 16th C?
Martin
On 04/10/2013 07:17, John Lenti wrote:
Speaking as a full-time theorbo player, I feel that I can say with
some
helpful to hold a theorbo more upright than a lute so that
the centre of gravity is closer in - it also helps a bit in playing
large left hand stretches. I've seen quite a few newcomers to the
theorbo struggle mightily with trying to play a theorbo in an almost
horizontal position
Very clever. I recall about 10 years ago I asked Dan Larson to build
me a theorbo, and he replied he would not, because he told me I do
not want one.
Turns out he is correct.
ed
At 12:17 AM 10/4/2013, John Lenti wrote:
Speaking as a full-time theorbo player, I feel that I can say with
some
of earlier players served much the same purpose.
It is also helpful to hold a theorbo more upright than a lute so that
the centre of gravity is closer in - it also helps a bit in playing
large left hand stretches. I've seen quite a few newcomers to the
theorbo struggle mightily
If you remove the neck with its extension and jam it through the rose,
you can rig a sail on the thing and go boating on the bay. One gentleman
who used to play a gigantic theorbo here had an instrument that would
have floated at least three medium size lutenists and their lunch
comfortably
as the rips are.
Am 02.10.2013 um 23:35 schrieb Daniel Shoskes kidneykut...@gmail.com:
Dear Theorbistas: has anyone ever tried one of the classical guitar
rests/cushions/supports that many guitarists now use instead of a footstool
for their theorbo? Some have suction cups or clamps which I
coats of earlier players served much the same purpose.
It is also helpful to hold a theorbo more upright than a lute so that
the centre of gravity is closer in - it also helps a bit in playing
large left hand stretches. I've seen quite a few newcomers to the
theorbo struggle mightily
: Martyn Hodgson hodgsonmar...@yahoo.co.uk;
To: William Samson willsam...@yahoo.co.uk; Lute List
lute@cs.dartmouth.edu; Daniel Shoskes kidneykut...@gmail.com;
Subject: [LUTE] Re: Thigh support for theorbo
Sent: Thu, Oct 3, 2013 7:57:22 AM
Dear Bill,
Most early representations
possibility of the instrument's lower side sliding forward.
No doubt, as has been suggested before (Bob Spencer I think), the heavy
coats of earlier players served much the same purpose.
It is also helpful to hold a theorbo more upright than a lute so that
the centre of gravity
, October 03, 2013 11:55 AM
To: Lute List
Subject: [LUTE] Re: Thigh support for theorbo
Thanks for all the replies. Time to start experimenting!
On Oct 3, 2013, at 3:57 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk
wrote:
Dear Bill,
Most early representations show theorboes being held
, as has been suggested before (Bob Spencer I think), the heavy
coats of earlier players served much the same purpose.
It is also helpful to hold a theorbo more upright than a lute so that
the centre of gravity is closer in - it also helps a bit in playing
large left hand stretches
the rose. I typically start by
placing the instrument so that the historically appropriate right hand
technique is possible and I can reach the left hand notes. Usually this
automatically puts the theorbo right in place, without having to constantly
cajole it. (Becomes more difficult on a mucho macho
Speaking as a full-time theorbo player, I feel that I can say with some
authority that the theorbo cannot be held comfortably by anyone ever. What you
do is you play near the bridge and suffer, pop some Advil, suffer some more,
pop a Demerol, more massage, claw at the strings nearish the bridge
Dear Theorbistas: has anyone ever tried one of the classical guitar
rests/cushions/supports that many guitarists now use instead of a footstool for
their theorbo? Some have suction cups or clamps which I wouldn't be thrilled to
use on my instrument, but some, like the Dynarette don't.
I'm
] Thigh support for theorbo
Sent: Wed, Oct 2, 2013 9:35:50 PM
Dear Theorbistas: has anyone ever tried one of the classical guitar
rests/cushions/supports that many guitarists now use instead of a
footstool for their theorbo? Some have suction cups or clamps which I
wouldn't be thrilled
of a footstool
for their theorbo? Some have suction cups or clamps which I wouldn't be
thrilled to use on my instrument, but some, like the Dynarette don't.
I'm still struggling to find an ergonomic position and the sitting on the
strap options just don't fit my body.
Thanks
Danny
To get
of a
footstool for their theorbo? Some have suction cups or clamps which I
wouldn't be thrilled to use on my instrument, but some, like the
Dynarette don't.
I'm still struggling to find an ergonomic position and the sitting on
the strap options just don't fit my body.
Thanks
Danny
http://youtu.be/HxZXUbYr_8g
with Peter Damsma!
Enjoy!
Amities,
RT
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+0100 31/1/13, Julien Stryjak wrote:
Dear all,
I'm currently making a theorbo after the
instrument from Sellas, now in the Brussels
museum (n° M 255), a well-known small theorbo.
I've been looking at the drawing from the
museum, and can't figure out exactly how the
bridge is carved
, Julien Stryjak wrote:
Dear all,
I'm currently making a theorbo after the
instrument from Sellas, now in the Brussels
museum (n M 255), a well-known small theorbo.
I've been looking at the drawing from the
museum, and can't figure out exactly how the
bridge is carved at its ends
At 18:00 +0100 31/1/13, Julien Stryjak wrote:
Dear all,
I'm currently making a theorbo after the
instrument from Sellas, now in the Brussels
museum (nDEG M 255), a well-known small theorbo.
I've been looking at the drawing from the
museum, and can't figure
Dear all,
I'm currently making a theorbo after the instrument from Sellas, now in
the Brussels museum (n° M 255), a well-known small theorbo.
I've been looking at the drawing from the museum, and can't figure out
exactly how the bridge is carved at its ends. It is definitely different
from
At 18:00 +0100 31/1/13, Julien Stryjak wrote:
Dear all,
I'm currently making a theorbo after the
instrument from Sellas, now in the Brussels
museum (n° M 255), a well-known small theorbo.
I've been looking at the drawing from the
museum, and can't figure out exactly how the
bridge
Thanks to Roman who pointed me to this marvellous recording:
http://youtu.be/MBZlqVndhW8 (Marin Marais, La Reveuse, arranged for the
theorbo, percussion and Chinese violin).
According to the blurb, the theorbo is a Turkish instrument, but don't let
that remarks prevent you from listening
On 27/01/2013 20:36, Mathias Rösel wrote:
Thanks to Roman who pointed me to this marvellous recording:
http://youtu.be/MBZlqVndhW8 (Marin Marais, La Reveuse, arranged for the
theorbo, percussion and Chinese violin).
Globalisation eh? That's globalisation not globalization, of course. I
can
Dear List,
in a CD recorded in 1997 (Pieces pour theorbes franc,aises) Jose
Miguel Moreno plays a rather beautiful *theorbo* transcription of the
well-known La Reveuse for viol of Marin Marais.
Does anybody of you have access to this transcription? Do you happen to
have
FOR SALE
Theorbo - Martin De Witte 2008
78cm/150cm
8 strings strings on the short neck with a possibility of a long F as well
A stable loud instrument, comfortable for all sorts of repertoire due to a
comfortable string length. Works great for solo and continuo.
PICTURES can be sent
, 19 Jun 2012 00:23:07 +
To: lute@cs.dartmouth.edu
From: johnle...@hotmail.com
Subject: [LUTE] extreme theorbo case
Dear all,
Has anybody got one of these?
http://www.casextreme.com/prod_details.php?pid'
If so, is it any good? Certainly cheaper than the next few
2012 18:07:35 -0700
To: lute@cs.dartmouth.edu
From: lutesm...@mac.com
Subject: [LUTE] Re: extreme theorbo case
Hi ho John,
Iirc, he was at the same LSA event as when I met you wa-a-ay back
when, earlier this century. (It's impossible to keep DS away from
@cs.dartmouth.edu
From: lutesm...@mac.com
Subject: [LUTE] Re: extreme theorbo case
Hi ho John,
Iirc, he was at the same LSA event as when I met you wa-a-ay back
when, earlier this century. (It's impossible to keep DS away from
Cleveland.) You probably didn't notice him running and hiding behind
doors
Dear Richard,
Last year I put a small hook on Lynda Sayce's theorbo case to take
these wheels and it has been a great success.
http://www.kcstrings.com/bass-buggie It is much better than using
skateboard wheels and deals with rough ground easily. Can be taken on
and off as needed and is light
I saw those wheels in action on double basses. Love them and indeed
they are better than my skate board wheels. A hook on the theorbo case
would be enough? Great idea!
David
On 18 June 2012 17:55, David Van Edwards da...@vanedwards.co.uk wrote:
Dear Richard,
Last year I put a small hook
,
David
At 23:07 +0200 18/6/12, David van Ooijen wrote:
I saw those wheels in action on double basses. Love them and indeed
they are better than my skate board wheels. A hook on the theorbo case
would be enough? Great idea!
David
On 18 June 2012 17:55, David Van Edwards da...@vanedwards.co.uk
fractures (just dropped off
at the surfboard shop for repair), and my Kingham cases, which have
been reduced to little theorbo-case molecules.
All best,
John
--
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Kingham cases, which have
been reduced to little theorbo-case molecules.
All best,
John
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I like the idea of the case-case, and I may get one for my baroque
lute, but I'm thinking more particularly of the ones you just stick a
theorbo in and go.
Also, when do I get to meet you, Danny? We know way too many of the
same people, like I ran into this lawyer on the train from
seminars.
Sean ;^)
On Jun 18, 2012, at 5:33 PM, John Lenti wrote:
I like the idea of the case-case, and I may get one for my baroque
lute, but I'm thinking more particularly of the ones you just stick a
theorbo in and go.
Also, when do I get to meet you, Danny? We know way too many
Hi netters
I wonder if anyone has used clamp on wheels for dragging theorboes around
campuses etc.
LIke with luggage, though you could remove them. I looked briefly at a site
that sold something called E-Z wheels; Any experience with those?
Thanks,
Dick Brook
richa...@ptd.net
To get on
How about a pair of old fashioned clamp-on roller skates? Or rest it on a
skate board.
Leonard
On 6/17/12 12:12 PM, richard brook richa...@ptd.net wrote:
Hi netters
I wonder if anyone has used clamp on wheels for dragging theorboes
around campuses etc.
LIke with luggage, though you could
Years and years ago I put a pair of skate board wheels on my theorbo
case, and boy am I glad I did! TGV: theorbe a grande vitesse! What I
did was buy a (cheap) skateboard, change the supsension from a stiff
block of rubber intended to cushion a 10-year old to something softer
(I used layers of cut
Thomas Dewing made several paintings that include a good-looking
theorbo. Anybody knows anything about that instrument?
David
--
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
***
To get on or off this list see list
Hello luters,
Just passing this on for those who may be interested:
LUTE/THEORBO CASES for sale: I have duplicate cases for various
instruments of mine (some lighter, some stronger, for varying travel
conditions) and, due to a combination conjugal pressure and the
restraints
Hello luters,
Just passing this on for those who may be interested:
LUTE/THEORBO CASES for sale: I have duplicate cases for various
instruments of mine (some lighter, some stronger, for varying travel
conditions) and, due to a combination conjugal pressure
lute@cs.dartmouth.edu
Sent: Wed, April 11, 2012 3:48:35 PM
Subject: [LUTE] Re: Miking a lute/theorbo
On Apr 11, 2012, at 6:00 PM, Anthony Hind wrote:
Ed
Do I understand that you record in mono? I have often found
that mono recordings are more relaxing than stereo
Objet : [LUTE] CD Viability was Miking a lute/theorbo
CDs are dead and 48KHz sounds better.
Thanks for these tips on recording!
I have been asking colleagues and random friends this question for
years:
How long do YOU think it will be before CDs go the way of the
Cassette?
I
__
From: Ed Durbrow edurb...@sea.plala.or.jp
To: Anthony Hind agno3ph...@yahoo.com; LuteNet list
lute@cs.dartmouth.edu
Sent: Wed, April 11, 2012 3:48:35 PM
Subject: [LUTE] Re: Miking a lute/theorbo
On Apr 11, 2012, at 6:00 PM, Anthony Hind wrote:
Ed
Do I understand
with a PCM/mp3 recorder using its built in mics and recording in
mp3 rather than wave format.
De : Ed Durbrow edurb...@sea.plala.or.jp
À : LuteNet list lute@cs.dartmouth.edu
Envoyé le : Mercredi 11 avril 2012 2h22
Objet : [LUTE] Re: Miking a lute/theorbo
Brad
it to improve it.
On the weekend I recorded two pieces in a professional recording
studio. I was accompanying a singer on the theorbo. The recording
engineer aimed two mikes quite close to the body of the theorbo.
On the recording, the sound of the theorbo is very tinny and distorted
Hi, all.
I haven't quite got the hang of tying my own frets on my 13c swan-neck.
The fret gut is quite thick (1.10) for the second fret and I my issue is
that the gut is hard to tie into a good tight knot. Does anyone have
any tips? Do you soak the end of the gut to flex it up a little? Or
, Mark Probert probe...@gmail.com wrote:
From: Mark Probert probe...@gmail.com
Subject: [LUTE] Fret tying on a theorbo
To: lute@cs.dartmouth.edu
Date: Monday, 9 April, 2012, 7:16
Hi, all.
I haven't quite got the hang of tying my own frets on my 13c swan-neck.
The fret
: repeat
a number of times.
It also helps if you can pre-stretch the gut (used strings are possible
if not too worn)
Martyn
--- On Mon, 9/4/12, Mark Probert probe...@gmail.com wrote:
From: Mark Probert probe...@gmail.com
Subject: [LUTE] Fret tying on a theorbo
a number of times.
It also helps if you can pre-stretch the gut (used strings are possible
if not too worn)
Martyn
--- On Mon, 9/4/12, Mark Probert probe...@gmail.com wrote:
From: Mark Probert probe...@gmail.com
Subject: [LUTE] Fret tying on a theorbo
To: lute
--- On Mon, 9/4/12, Mark Probert probe...@gmail.com wrote:
From: Mark Probert probe...@gmail.com
Subject: [LUTE] Fret tying on a theorbo
To: lute@cs.dartmouth.edu
Date: Monday, 9 April, 2012, 7:16
Hi, all.
I haven't quite got the hang of tying my own frets on my 13c swan
It all goes to show that Micing up is hard to do.
Bill [sorry . . .]
From: David Tayler vidan...@sbcglobal.net
To: lute lute@cs.dartmouth.edu
Sent: Thursday, 5 April 2012, 4:20
Subject: [LUTE] Re: miking a lute/theorbo
Well, yesss, we can take it to extremes!
But four
Dear Brad,
You can hear that tinny, brittle, distorted sound if you put your ear
right up to the ribs of the lute as you play it. (It's easier with a
lute than a theorbo.) A mike placed very close to the instrument will
capture some of that tinny sound.
If you listen to a lute or theorbo from 6
www.christopherwilke.com
--- On Tue, 4/3/12, Brad Walton gtung.wal...@utoronto.ca wrote:
From: Brad Walton gtung.wal...@utoronto.ca
Subject: [LUTE] miking a lute/theorbo
To: lute@cs.dartmouth.edu
Date: Tuesday, April 3, 2012, 12:05 PM
Hello folks,
On the weekend I recorded
better than the real thing.
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
--- On Tue, 4/3/12, Brad Walton gtung.wal...@utoronto.ca wrote:
From: Brad Walton gtung.wal...@utoronto.ca
Subject: [LUTE] miking a lute/theorbo
Subject: [LUTE] Re: miking a lute/theorbo
Recipe for a really super natural lute sound:
1) Use 20-50 prohibitively expensive mics.
2) Place them at least 415 feet away from the instrument.
3) Arrange them in an incredibly intricate array involving rigging
from
THAT is the way to go!
i am reminded of how a Russian composer (i forget which) who'd moved
to the USA after the Soviet Revolution, couldn't afford gramophone
needles and made do with whatever needly-pinny-thingies he could find.
when asked how he could abide such terrible sound, he said
gtung.wal...@utoronto.ca
Sent: Wed, April 4, 2012 10:55:36 AM
Subject: [LUTE] Re: miking a lute/theorbo
Recipe for a really super natural lute sound:
1) Use 20-50 prohibitively expensive mics.
2) Place them at least 415 feet away from the instrument.
3) Arrange them
Hello folks,
On the weekend I recorded two pieces in a professional recording
studio. I was accompanying a singer on the theorbo. The recording
engineer aimed two mikes quite close to the body of the theorbo.
On the recording, the sound of the theorbo is very tinny and distorted
[1]gtung.wal...@utoronto.ca
Hello folks,
On the weekend I recorded two pieces in a professional recording
studio. I was accompanying a singer on the theorbo. The recording
engineer aimed two mikes quite close to the body of the theorbo.
On the recording, the sound
David Tayler is someone who could offer good advice; his recordings are very
natural sounding. David . . .?
On Apr 3, 2012, at 12:05 PM, Brad Walton wrote:
Hello folks,
On the weekend I recorded two pieces in a professional recording studio. I
was accompanying a singer on the theorbo
been wired the wrong
way round so that the 2 mics cancelled each other, rather
than working together.
I'd probably start with the mic about 18inches from the instrument,
on the midline of the soundboard and just to the neck
side of the rose, I never recorded theorbo before so
like Eugene says I'd
I recently recorded a CD with Christmas music in a studio in Hungary and I can
tell you they get the sound of the theorbo as beautiful as possible. I really
don't know what kind of microphone they used but it was a huge one about 40 cm
from the soundboard and a smaller one about 20 cm from
On 3 April 2012 18:05, Brad Walton gtung.wal...@utoronto.ca wrote:
On the weekend I recorded two pieces in a professional recording studio. I
..
On the recording, the sound of the theorbo is very tinny and distorted, and
bears almost no similarity to the natural/ acoustic sound
, Brad Waltongtung.wal...@utoronto.ca wrote:
Hello folks,
On the weekend I recorded two pieces in a professional recording
studio. I was accompanying a singer on the theorbo. The recording
engineer aimed two mikes quite close to the body of the theorbo.
On the recording, the sound
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