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Yeah…. So you’re saying, “Let the buyer beware” and “If it’s too good to be true, then it ain’t true.”
It is possible to write truthful ad copies, and it may be regulated by law now – truth in advertising and all that.
Thinking out loud, I don’t see how this could have been true. Wood moves from the pressure of the strings so as the board warps up and the neck twists, the harp would need a regulation to get those 1/2 tones back to where they should be, plus take care of those clicks and buzzes that develop along the way.
If you’re stringing a pedal harp, or any harp with larger eyelets than Triplett harps, don’t forget to put in a string anchor starting at middle C and on up or your string knot will get stuck in the eyelet. It’s not much fun trying to get it out after it’s really lodged in there.
Barbara
Hmm, some great ideas here. If I don’t know what kind of surface I’m playing on, I bring a small oriental rug with a non-slip undermat. if I’m playing outdoors, I bring along a mat or rug to protect the bottom of the harp, shims to level my music stand if I’m on an uneven surface, sungasses and sunblock (though I try to keep me and the harp out of the sun).
My gig bag holds munchies, water, kleenex, needle and alcohol swabs, tuner, extra batteries, battery powered music stand light, full set of strings, nail clippers to clip nails and strings, extra tuning keys, a door stop, and a screw driver for emergency repairs. I keep needle nose pliers in the car. Most of my music is in a binder, but I bring along loose sheet music and collections if needed.
I don’t bring extra panty hose, but do bring along a shawl and have fingerless mitts for when it gets cold.
And I’ve found a GPS to be invaluable – at the very least, Google Maps directions and the phone number for the venue.
Oh, I do believe you, Barbara, that staining is faster than gilding.
I was specifically replying to what I thought were two separate questions. Maybe I misunderstood. One about a practical reason harps were left natural rather than stained. The other about what was traditionally done. Not knowing how far back in history Margaret was referring to and since she mentioned carving, I made the comment about the carving being gilded and the rest of the body left natural.
I think traditionally, the carved parts of the harp were gilded, and the rest left unstained. Staining wouldn’t damage the wood, nor would it damage the soundboard. I think it’s also tradition to leave the soundboard unstained and left plain or decorated with decals and/or handpainted designs.
I’m just guessing, but maybe a practical reason why the majority of harps weren’t stained is because you could eliminate that step and get the harp done that much faster.
I noticed that too this summer, but the strings don’t squeak anymore. I didn’t do anything, but if you want, maybe one swipe with a cloth lightly dampened with water followed by a dry one will do it. I wouldn’t do this to the wires, though.
On the whole, there aren’t a lot of harps with carbon fiber boards out there, but with my limited experience, I have played some that were really extraordinary.
Yes, I agree with Carl in that you should always do your research and get second opinions before having someone do major work on your harp.
