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I was happy with the Savarez KF strings on the lower end of my Double Strung Lap Harp( bottom four strings). Above that, nylon strings definitely sounded better. Hope this helps.
I’m excited to give an update on this. First of all, Biagio: You have saved the day! I used the spreadsheet you pointed me to in order to figure out the correct Savarez KF string to use. It was also reassuring to look at Fisher Harps Nylon to Fluorocarbon conversion chart. What I came up with for my harp was pretty close to what he had listed on his chart. But with the spreadsheet I could clearly see how to tweak things for my harp. I was able to create a very equal tension conversion. I went ahead and replaced just one string to start: My lowest G, which was the worst sounding of all the low strings. I’m really happy with the results! I feel my problem is solved. To explain the difference:
The Nylon String was producing a sharp attack (no matter how soft I plucked it) and a very fast decay. And it sounded more like a shallow echo than a rich or clear tone.
The New Savarez replacement gives a nice, rounder tone with a longer sustain and a much clearer, cleaner sound. The difference is somewhat subtle, but very noticeable to my ear. And it’s giving me more of the sound I want to hear on this harp.
I’m looking forward to replacing all the 6 lower strings with Savarez. And to report more good news, Biagio you were right. There was no problem with my Truitt Levers. Even though the Savarez string is a smaller diameter than the Nylon original, the Truit still produced a perfect sharp. No adjustment needed! Finally I feel I can really fall in love with this little harp.
Thanks Again!
I’ve had a chance to use the music makers spreadsheet and it is really helpful. I think things are starting to make sense now that I can see it all visually. I’m reading back over all the comments and it much clearer. Thank you Biago for that link!
Alright, I’ve downloaded the music makers spread sheet with instructions and I’m going to attempt it!
In regards to the Nylgut I’m in touch with a U.S. distributor who is helping me out. It will be a while before I receive the strings to try. I’ve heard others say they didn’t like the tone of the Nylgut. However, I understand that it stretches like crazy and you have to leave it on the instrument, tuning it for at least a week before evaluating the true tone quality. Some people try it one day, hate it, and take it off immediately. Maybe it just won’t sound great on a harp. But I am going to give a try. Savarez is the next step for me if Nylgut doesn’t work.
I would love to try Savarez Alliance KF strings. I have the individual string tension list for how much tension my harp can handle. But I need to know what the equivalent Savarez strings would be. I don’t know how to find that information. Biago mentioned some specs above that he uses for strings. But my brain can’t quite wrap itself around what that means 🙁
Fisher Harps lists an approximate “KF to Nylon conversion chart” on their website. However, I don’t know how specifically accurate this is. Or if I should use it as a reference for my harp. So confusing. Does anyone have suggestions for how I can figure this out?
I agree Biagio that one should settle in and play the harp we have They really are all a little different in some way and we should learn to work with it! I probably won’t change the upper octaves. But someone I know did a complete nylgut conversion on a similar model to mine and liked the results, so I’ll see what happens. My harp has Truitt levers. I’m thinking if I use a wound string I might have to change the levers and I’m not sure I want to invest in new levers. But it certainly is an option for me if the Nylgut doesn’t help!
Overall, I think the thing that makes we want to try to improve this harp is that I’ve heard other harps of this same size and model and they do not sound quite so nasal at the bottom, with only the bottom G sounding like that. I don’t know why my particular harp turned out different. But it gives me incentive to think that my lower strings have the potential to sound better (maybe), so I will try. Again I really appreciate the feeback you gave. Thanks!
Well I really appreciate these technical explanations and I’m so glad I can come here and get feedback from knowledgable people!! Yes, my understanding is that when I switch to Nylgut, the string diameter will be 10-12% smaller (and even smaller if I do flurocarbon). I’m really excited to hear what it sounds like. If like it, I might re-string the whole harp with it. I hadn’t thought about a wound string. That’s a great idea and I will look into that! I’m also intrigued by Biagio’s suggestion of stringing it A to A. I do own one harp that is strung partially in flurocarbon and I really love the tone quality. In general I’ve never been a fan of the sound of the nylon string range on any of my harps, so maybe I just have a particular preference in what my ear likes to hear. Thanks again everyone!
Thanks Biago. This is 22 strings G to G, but double strung, so really 44 strings. I talked to the manufacturer and he said not to go higher on the tension since the double rows are creating a lot of tension already. So I’ll be getting the string tensions list and having the conversion done from that. I didn’t mention which brand of harp this was because I don’t want to sound like I’m posting anything negative about them. This is a well made USA harp though. And there’s only a couple of them who make a double this small…….
Anyhow, if the Nylgut doesn’t work for me I’m interested to try flurocarbon. Can you recommend anyone who is good with flurocarbon and can calculate a string conversion? The person I’m working with is for Nylgut only. Thanks!
Thank you for your reply Charles. I do have Carl’s book and intend to read it before I begin, along with some other resources. Beyond that, your post was very helpful to me. I feel a lot more confident about just going ahead with the Pedal Felt change. Then I’ll worry about the regulation later, if it is really needed. I have lots of research to do and I’ll check out the resources you mentioned. I really wish someone would offer a special training (just for harpists) on how to do this stuff at home. It sure would be helpful for those of us who don’t have access to a certified technician. . Thanks again!
All excellent suggestions! Thanks for the reminder about Josh Layne’s You Tube videos. I saw one a while ago and thought it was really great. He’s definitely someone I would take a Skype lesson from if I can. I’ve also been reviewing Marta Cook’s You Tube technique videos. I would love to learn more about what Ann Sullivan offers. I think it would be fabulous if more teachers offered video teaching demos. It opens a whole world I don’t have access to normally. Currently I’m enrolled in Deborah Henson Conant’s online courses. She doesn’t teach technique specifically. But what she does teach has been so amazingly invaluable for learning other things about music that I never understood before! Very exciting!
Yes they gave me plenty of practice techniques. When I said “performance” I am only referring to how badly the lessons feel for me in that situation compared to playing my own harp. Yes I do work on music appropriate to my level. When I explained what I can’t do, it was to illustrate one reason why I would continue lessons, since you asked why I still need them after 7 years. My teachers are aware of my difficulty in switching harps. But they don’t think it’s that big of a deal. So ….. I’m giving myself a break now.
To answer your question Sylvia: I started Harp (and music) as an adult. I have a full time career in another field. The reason I desire lessons is because it has taken me 7 years to progress to intermediate level playing. I don’t go to school to study music, and never will. I don’t perform professionally. I don’t sight read sheet music well. It takes me months to learn a single piece. This is just where I’m at. My fingers can not yet play certain kinds of advanced passages with fluency and speed. I have no natural gift for interpreting certain things about dynamics of music. And basically I find that having advanced teachers is valuable so I can look through their eyes and understand how / why they see music a certain way. The process is deep and endless. I feel I’ve only begun to scratch the surface.
I thank everyone for all the helpful replies. I can see from the responses that my issue is not necessarily unusual, just another reality of the harp to work with. And I appreciate all the suggestions that have been given. While I’m taking a break from private lessons, I’m doing a lot of online self-study in various forms. Probably what I need most at this point is better technical understanding of how to interpret certain things about sheet music in general, and translating that into expressing in on the harp…. Not so easy for me. I’m not sure how else to get this kind of help, except through good a harp teacher?
