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Molly, I sort of hinted at the idea of asking someone to make a custom double for you if they would do so in your price range. A double is actually easier to make than a single but it’s a Catch 22: not a lot of demand, partly because few make them! Here’s what I would do though.
I would decide on specifics, then contact Rick Kemper at Sligo Harps, with whom I have had great experiences. As to specifics (aside from price) I would want from Rick:
-Minimum 4 octaves (range your choice though at least G-g)
-Aircraft laminate board
-Round back box (Rick supplies those to several pros who do not want to make their own)
-Tension medium, possibly Savarez strings
-Loveland levers (to keep the price down – alternatively Truitt, but Betty is in either Hawaii or Ireland at the moment, I forget which)-Zither pegs for preference (Rick might advise through pegs for some of the bass strings)
Rick’s Seang and Luchair are big hits with the Celtic music crowd; if you specify the laminate board and round back shell you might be pleasantly surprised by what he says.
Or maybe not, of course but I would definitely give him a jingle. He lives in Silver Springs MD and with the DC area lockdown probably has time on his hands.
Cheers,
BiagioHi Molly,
If I could afford a Rees, I would by all means get that for myself. I have made several doubles (and other sorts) but no longer build harps of any kind. This is not to denigrate other makers but just to say that I think Rees makes the best on the market, and has been making them the longest along with Stoney End.
Herewith my unbiased (more or less) comments on these makers:
Stoney End: I usually agree with Charles but not in this case. The “ply” used there for the SB is better termed “aircraft grade laminate”: there are no voids. It is trtue however that one usually needs less frequent tuning with a laminate board in a variable climate. What I dislike about Stoney End’s doubles is the way the strings angle in to the center as opposed to being parallel.
The DS is OK but personally I do not like the string choices and tension; their characteristic bright treble and mid, which works so nicely on their singles, echoes too much in the double to my ear.
Argent Fox primarily is known for supplying hardware to the harp community. I am only familiar with their cross strungs.
Many independent harp makers will make a double if requested; I think that was the case with Thormahlen as they no longer have it shown on their website.
Laurie Riley does indeed broker used harps and has two doubles advertised, both Rees Mariposas (34 strings). https://laurierileymusic.com/double-strung-harps-for-sale-used/
Happy harping!
BiagioOh, drama. It looks lovely, those gestures, but I would submit more for an experienced concert harpist and even then only maybe. For my money the recent masters of this are Harper Tasche and Caitlin Finch.
His view: “there are many good reasons for the raise but drama is not one of them.” Her view: “play the instrument as if it were your lover, whatever it is.”
Joselyn CHang’s view (my first teacher): “until you can place firmly and accurately with your eyes closed do not worry at all about anything else.” which leads to my next suggestion: put aside some time to just play in the dark or with eyes closed.
I promise, it will be a wonderful and amazing experience.
If you can, watch some videos of Harper, and of Ms. Caitlin – some of the smoothest and most confident playing I’ve ever seen. Joy too but she is no longer with us.
Ah, gotcha. I’ve altered my technique since my nails are trimmed to also ply wired strung. This might help: turn the upper edge of the hand in somewhat more and allow the fingers to angle down.
People talk about “Salzedo” and “French” technique but really, it’s about small alterations that work for each individual IMO. Whatever the technique, keep the hand relaxed – a tense hand is my major cause of buzzing, especially on those bass strings.
Do you mean that you are experiencing a good deal of sympathetic vibration? That’s the case with one of my harps and the only “solution” is damping.
Biagio
I would guess that the strings are too close to the lever cam, since this does not occur when the lever is engaged. Try adjusting the bridged pins.
Linda, one has a fair degree of leeway especially with with composite (wound) strings. The “trick” is to keep the tension where the maker intended so it comes down to the strings’ mass and frequency as to how low you can go, since that the vibrating lengths are fixed. Ask your harp maker about this if you think you want to lower the range.
Some will be happy to accommodate, others may prefer not to – for instance Dusty winds the strings themselves and would probably not want to change the setup. In that case you would go to a professional string maker such as Robinson’s or Markwood and they will do the analysis for you. Caveat: doing so might invalidate the warranty so check with the maker first.
Jackie, I think you are confusing names with stringing regime. The Brea is the same harp as the Brittany in all respects EXCEPT that you chose one with a range F-F, rather than G-G.
Let me put it another way: my “Selchie 34” model may be strung C-a or A-c. You could if you wished string a Dusty FH with gut instead of nylon. Does that make one different from the other? No, they are the same harps.
@Evolene, not to push the idea but since it has some up: frankly the Stoney End kits are harder to put together than any others I’ve seen due to the way the box is built. Four panels glued into four L shaped pieces of moulding. Get just one of those out of line and the whole thing is ruined.
That’s not woodworking it’s being accurate when you glue! Given the relatively low price for one of their finished harps it does not seem worth the trouble to buy it as a kit. I won’t belabor the subject but just quote what one master luthier says: “If you can build a dog house you can build a small, simple harp.”
A bit of history: the modern double came into being after Liz Chifani and Laurie Riley had a breakfast conversation and approached their sponsor harp makers, respectively Gary Stone and Steve Triplett. William Rees then liked the idea and went on to make an entire line of doubles, from 3 to 5 octaves which are still offered today. Dusty finally made the 3 1/2 octave FH26 after a bit of prodding but did not see enough of a market to go any further. I think the lever cost is one major reason that doubles are a small market still.
A lot of things affect the sound of a harp so I won’t comment on specific comparisons other than one case: compare the DS Allegro to the Ravenna to the FH26. I don’t hear much of a difference – at least not enough to justify the cost differences. Others may.
There are three doubles players in my local harp society; one played a Stoney End for years and finally bought a Rees with parallel strings. She says that the difference is a revelation. The disadvantage to that is that to get the most out of the design the sound board should be wider than a single. Rees does that, Dusty and Stoney End do not.
It’s all an adventure and I’m not knocking Stoney End, they make good economical harps. I just wish that more luthiers made doubles – but then I feel the same about wire strungs! “Back in the day” when folk harps started to be popular in the US you had to either make one yourself or have a friend who would; techniques designs and materials have come a long way since then which is a good thing; the downside being that while their are more harp players (and choices) fewer of them want to design their own or understand the technical aspects. I suppose that’s also a good thing, but it seems a pity.
Hi Ho!
Biagio
Not meaning to throw you more curves Linda but what the heck. If your husband has a workshop you could easily design and build a double for a lot less than any we have been discussing. A double is actually easier to build than a single since you don’t have to deal with side string torque, The only “tricky” part is working out the string plan and I can give you that. You would need to buy Jerry Brown’s Folk Harp Design and Construction book ($49.95) and of course wood and hardware. https://www.harpkit.com/folk-harp-design
I figure a double 23 (G-a) would cost between $250 and $500 before levers (lower cost for a ply construction like the Stoney End, higher for one in cherry like a Rees).
I actually have plans and construction guide for that. Let me know if you and your husband are interested.
Biagio
You might also be interested in a Rees that Laurie Riley is helping to sell – I’m thinking of the walnut Mariposa, which would be in line with the cost of a Dusty:
https://laurierileymusic.com/double-strung-harps-for-sale-used/
Biagio
Haven’t looked at the “Lorelea” Evolene but I would bet that it, like the “Brea” differs by the range, not the number of strings. This relates to something that is useful for harpers to know: within reason a folk harp’s range can be changed if you prefer something other than what comes “standard”.
Most harp makers don’t exactly advertise this – it opens up more questions than they want to deal with. Some do though: for example Rees offers an option of a low C or a low A on their Aberdeen Meadows.
Bottom line: the Brea is the Britanny with a different string set: take a look:
WRT Stoney End doubles in general: Gary Stone angles the two rows in to the SB, whereas others keep the two rows more or less parallel. Some double players don’t like that as they find it confusing at first. On the other hand (little pun there) you get used to it and it certainly makes construction easier.
Gary also uses a Finnish laminate SB whereas the Rees and Dustys are solid wood, which makes the Stoney Ends less expensive in materials. Personally I don’t believe there is much of an acoustic advantage to using solid wood over laminate in a harp that size.
Edit: Some members may recall that a few years ago I worked out a string set for a Stoney End double with one side a fourth lower than the other. That’s a pretty extreme example – the point however is that it can be done “within reason.” Id est do not vary the tension from the original and make any necessary adjustments (bridge pins, grommets, levers) for string diameter.
Biagio
I don’t know the Brea and it is not listed on Stoney End’s website. I found a “Brea” on Hobgoblin and that appears to be a Brittany but fully levered. Be that as it may, the Brittany can be string G-G or F-F and the latter would be somewhat higher tension than the other.
It’s too bad that there are few people making doubles. The Brittany is popular but you should be aware that levers will cost extra: full levers on both sides would add about $800-$1000 to the base price.
Personally I would keep my eyes open for used doubles; people will buy one and decide it’s not for them. Stoney End, Rees, Dusty Strings all have good reputations. I used to make a 2×23 and sent the plans to Musicmakers but have not heard whether they have decided to offer it.
Biagio
Laurie Riley has studied and written extensively on harp playing ergonomics. For a start see her website:
https://laurierileymusic.com/play-pain-free-for-a-lifetime/
Biagio
I agree Saul, that a round back sounds better (usually) and a square shape a la Rees acoustically best of all; although that is not adequate for a harp larger than five octaves. Too many “engineering” issues if it gets any larger.
. I think that the question refers to the curved profile shape that Dave Woodworth designs but what the heck.
There is merit in that method in that the neck can be straighter – best of all IMO the built-in SB curve that Caswell used to do before his regrettable demise. I’m not convinced that the Woodworth curve otherwise is any easier to play, but to each his or her own LOL.
Biagio
