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I am glad that we agree Wil! I think we also agree that it is wise to be wary of flat out blanket opinions LOL; ask a knowledgeable teacher for preference, or the folks here.
Two of my least favorite (or most favorite if I am in an argumentative mood) blanket statements are:
“You must use pedal harp notation (first octave X, second octave X, etc.) when discussing strings.” Fine if a pedal harp is all you play, but many of us don’t. Use scientific notation if you want to be understood by anyone else.
“You will break your harp if you replace nylon with gut.” Ha ha we just covered this one:-)
Biagio
I follow your logic Wil and don’t want to start an argument; but I think you missed my point about relative tension. To repeat in clearer terms: There is is absolutely no reason that a nylon strung harp need be at lower tension than a gut strung harp. If the maker chooses a high tension design he can string it with whatever he chooses – nylon if that is what the customer wants, gut if they want gut. The strings will simply differ in diameter, one material to another.
For example: my favorite harp is nylon strung and at the same tension as a gut strung Troubadour – on average 35lbs./16kg per string.
Diameter dictates tension for a given material. The Taylor formula, which we all use, states that:
Tension = Mass(2xLengthxFrequency)squared.
Increasing mass increases tension, holding length and frequency constant. Therefore, use a larger diameter of nylon than gut to maintain constant tension. Let’s not do the algebra and be happy with one example – A-220Hz at a vibrating length of 71.12cm:
Nylon 1.54mm tension 19.4kg
Gut 1.38mm tension 19.4kg
As to the relative hand strength – local harpers Harper Tasche, Phil Boulding and indeed your humble servant all have very powerful hands – but we all play nylon strung harps. That is all about technique.
Whew!
Biagio
Your choice of strings is rather subjective and depends on a number of things, unless you intend to play a high tension concert pedal harp. However, with that and wire harps as exceptions, let us just consider some pluses and minuses:
-You can use Tynex nylon, fluorocarbon or gut interchangeably provided that you use appropriate diameters. Tension increases with material density with FC the highest and Tynex the lowest density. Therefore, use a smaller gauge of gut and FC than nylon. Consult a string maker on this or do the math.
Generally speaking, makers who use gut as their standard also make higher tension harps than those who use nylon. This is just based on their target market niche, it has nothing to do with inherent physics. Gut seems to predominate in Europe, Tynex nylon in the US.
Nylon costs less than the other two.
Gut is quite hydroscopic so if you live in a humid environment with frequent climate changes you may prefer FC which is not, but sounds fairly close to gut. Nylon is also hydroscopic but not nearly as much as gut.
Tone depends physically on hardness, with nylon the hardest, gut the least. That also affects sustain and overtones but to a lesser degree.
There are a number of FC and related types. Savarez goes to multi-filament at 1.01mm diameter, “Silkgut and “Nylgut” at others or are multi-filament throughout.
FC stretches much more than either of the others and is more elastic so, it takes longer to maintain pitch when new and feels less tense once at pitch and plucked, even when it is at the same static tension as the others. Some people find that annoying; and even physically harmful if they play with great force (as on a concert harp).
No offense, Wil, but I completely disagree about that “first harp” being gut strung. One should take the above into account; if one is just beginning it may be wiser to use nylon at first. One’s technique also plays a large part in how a string material sounds.
About that “harmonic curve” remark: well I did say “all else being equal.” Dusty uses bronze core nylon wound in the bass which sounds very different from steel core bronze wound or a very long gut string (for example). The point is that a longer string produces clearer overtones than a shorter one, since the nodes are further apart.
Best wishes to all,
Biagio
Just a couple of random notes….
A lot of different things go into how a harp sounds besides the string design but to stick with that for now:
Longer strings provide more sustain and greater overtones all else being equal. Think about the harmonic curve and recall that pitch doubles every octave ( A4 – 440Hz; A5 880Hz and so on). In a purely theoretical world the string length would double going the other direction – A3 string twice the length of A4 e.g. Natch, that would make the harp impossibly tall so we make the lower strings heavier.
Regarding seated height: I have an musician’s Adjustrite chair and it’s great – you can change the height by up to 6 inches and the angle as well. They also make an adjustable bench, and both fold. Here’s one listed on Amazon:
Biagio
Regarding the FH: many people around here (the Puget Sound region where Dusty “lives”) have them, naturally enough. The top is wider than some other harps in order to provide more vibrating surface and therefore a richer tone in the treble. Dusty compensates for this with their 36S model which has faceted corners at the top – it is a real favorite for it’s shape and slightly fuller bass.
One cannot tell a harp’s tension just on the type of strings alone. A nylon strung harp may be as high or higher tension than a gut strung harp – vibrating length is the determining factor much more than material. Gut strung makers tend toward higher tension because the intended market are those who might otherwise prefer a concert pedal harp but that is the reason for it. My own (nylon strung) 34 is as high tension as a Troubadour. Nylon does however have a brighter tone than gut – the reason for that is it’s hardness relative to gut.
Brandon is very well respected and will give you an expert’s advise.
Good luck!
Biagio
I tend to agree with Charles though it is difficult to tell from the pictures. When you wrote “all over the harp” and given the local humidity my first thought was “cyano bacteria” aka blue-green algae. Those are the tiny black spots that show up on things like shower curtains and it is slightly possible that this has lodged in tiny cracks. It’s harmless – just wipe them off with a mild detergent if so.
When I’ve seen cyano-bacteria on a musical instrument it has usually been in the body cavity and mostly around glue lines. The algae likes dark and humid.
Biagio
If you get a Korg definitely get a pick-up. The digital red Snark is a real favorite around here; no pick-up required for that, just clip it to your tuning wrench or a tuning peg.
Sorry about the height issue (LeStik) I thought for some reason we were still on the wire harp. Glad you found a solution.
Biagio
“LeStik” by Blevins is very popular in lieu of a stand. A bit pricey, but it is easy enough to make:
http://www.blevinsharps.com/index.php?main_page=index&cPath=281_225
Hmmm. Well there are a number of maples some harder than others. I suppose though he means either white maple Acer sacharinum or red maple, Acer rubrum. Neither as hard as sugar maple aka “rock maple”, Acer saccharum.
There are of course many kinds of stands but the one in the picture is like a folding desk artist’s easel – more robust of course. Basically a large triangle with two rear legs. The harp base rests on a lip that can be raised or lowered and/or angled. If the harp has holes in the rear you can clamp it to the stand. If it does not have access holes – i.e. a closed back – you can either take the harp off when finished playing or make a strap – though the later is not as secure.
Of course dimensions are optional, but the ones I and my friends here use are 30″ maximum length and the legs are spread apart 12″. Of course how high from the floor depends on the angle you choose and how high you set the base lip. For instance with my maple harp (35″ from base to knee) I set the angle so that the strings are perpendicular to the floor – with the stand at about a 45 degree angle – and the knee is 41″ above the floor. I set the lip at a slight angle to the right for right shoulder playing. With that setting I don’t have to tip anything, just pull my chair up.
Laurie Riley sets hers differently for her Caswell Bard and does tip it back; Nan Pardew likes it a bit higher for her Avalon. All have access holes so we just keep the harps clamped to the stand instead of laying them flat on their backs when not playing. The Bard has a “bump” at the base like the Ardivals and Folcharps so the lip has a gap, bridged by a bar of steel. Since the Avalon has a curved base there’s a mirror-matched insert glued to the lip for Nan.
I1 all seems kind of fancy, but I designed these things to work on almost any small harp and to fold for travel. You can make it much simpler for your specific instrument. Forget the folding part, predetermine the desired angle and fasten the rear legs permanently. Takes up more space that way of course but beats piling up books on top of boxes.
A complete description and instruction for making them is in the Spring 2015 Folk Harp Journal – you can order that from the archivist, Jerry Brown, at Musicmakers’.
PS I don’t make this stuff anymore, ha ha.
Biagio
LOL Randal, I try to save the tech stuff unless it’s requested and often the real answer would be “it depends”…how one plays, the rest of the design, the specific tree (tight growth rings or not) and ya dee ya dee. Anyhow, you are welcome! Yet, alas, see below…..
The Kilcoy is “sycamore” which in Britain means a kind of maple species, Acer pseudiplatanus. In the US “sycamore” usually refers to is an entirely different genus and species (Platanus occidentalis). “Platanus” translates as “planetree”.
Biagio
Elletaria, since the harp’s knee (aka shoulder) should be about an inch below your chin I would measure: from your knee to your chin at about a 35 degree angle to get an idea if the 27″ Folcharp will be a good size. If you play in a chair you might consider a stand. There is a picture of one mounted to a double strung on my profile page. If that would be interesting I’ll send you directions for making something like that, modified since the Ardivals and Folcharps do not have string access holes in the back.
Honestly, in your place I would send the Kilcoy to Ardival to have it cleaned up rather than taking a chance on a different harp that you may or may not like. As for wood tone:
Boy is that an open question! OK rock maple may be described as “warm” but I’d describe it as “bright”. Unless James is talking about silver or red maple. Generally speaking less dense woods such as black walnut are considered “mellower” because they do not ring as long as harder ones (i.e. sapele or maple) and more vibrations are absorbed in the wood. But that’s just a very rough guide. Figured woods sound distinctly different from their non-figured counterparts of the same species.
Then there’s the creme de la creme of bog willow which is softer than maple but with inter-locking grain and a very bright ring……but let’s compare ring to tinkle. The latter is usually the result of strings that are too thin and short and/or the SB is too narrow.
That is one reason that small (nylon) harps sound tinkly: the maker just “cut the range down” from his larger model without increasing the vibrating surface.
Biagio
Yup, nice green mold and the bass wires were green too (copper wound). Sheesh. Let’s not even talk about the mallet:-)
I know that you and Allison, and Tacye already own these little books or else already know what’s in them but will throw this out for other readers. They’re well worth having: Troubleshooting Your Lever Harp by Dave Kolacny and The Harper’s Manual by Laurie Riley.
Maybe the wood dried a little over at the flat? That would do it….
Biagio
I’ve had the best experience with a harness such as Randal suggested, but had to make it since I did not want to spring for Camac’s. It was essentially the kind of thing that a flag bearer wears: crossed over the shoulder straps (kinda like suspenders) that tie in to your belt, with two additional straps – one goes around the knee block and the other to the pillar. Velcro is sufficient. Honestly though I don’t much like standing since I have scoliosis (curvature of the spine).
A wide heavy guitar strap is definitely the way to go I’d think, preferably leather. One person around here made it herself: just picked up a long belt at a thrift store (the dude must have been pretty chubby), cut it in half and added button slits at the cut ends. She probably had to punch a few additional holes for the buckle.
Biagio
To all who reacted to my “don’t do this comment” – sure, you are right to criticize what on reflection was rather stringent. So sorry about that – think of my comment more as a cry of “Aaaargh”. You would not believe some of the things that people do to lovely instruments – any one who does repairs has some real horror stories. Such as one where the player tried to adjust the pressure-fit neck on a Dusty with a mallet. I kid you not.
HA ha I’m certainly not saying “Don’t play in any but perfect conditions”! If you do have it in humid conditions, provided there are no sudden changes, not a problem. Just don’t leave it in a closed case for extended periods (I’ve seen that one – urgh), tune and play it regularly, and a harp should live a pretty long time.
I take it the Ardival was left (on that houseboat) unplayed and untuned for a long time. It would not be surprising if the pegs were sticky for a while, after being re-strung, in that circumstance in almost any environment but especially a humid one.
Best wishes,
Biaigo
Hey good stuff here. Just a few short notes before I have to boogie…..
First, on fixing stuff and tuning (don’t hit me if this sounds dogmatic because it is): basic harp maintenance is as much a part of being a musician as learning basic theory. Please do not keep a harp on a houseboat (especially on salt water), in the back of the car with the windows up, or in the middle of the floor unattended. OK now that’s off my chest let’s talk about the Kilcoy’s tuning issues.
Over time metal pegs will oxidize (yes, even anodized aluminum ones), the wood will get compressed and the fibers distorted. You see it more often on very old harps, or on those that have not lived a sheltered life – as seems to be the case with this one. A technician will not (usually) take off all the strings but rather do the needed one at a time (taking all off at once puts undue stress on the board and retuning takes longer). The tech will do what a player would if they have the tools and desire: loosen all of them if it is a wire harp, remove one peg (carefully – you may be able to use the string!); clean it up if necessary with emery cloth or steel wool; examine the peg hole and if necessary ream it lightly with the correct size tapered reamer. Blow out residual dust, take it back to tension and that’s it. Then do the next one if you wish. Parafin (candle wax)is not a bad idea but go lightly with it.
Second – about size. I know James well and he gets pretty dogmatic sometimes but his point about size in a folk harp is well made (read it on his website under “Rants”). More strings are not automatically better and a small harp forces one to learn some pretty advanced techniques to fully use its voice Which admittedly I have not yet!
We do not have the luxury of alternatives (James would say the “crutch”): great big arpeggios, glissandos, levers or pedal to flip, and so on. Remember that we are talking about folk music meant to be played on a folk harp, principally Celtic and wire. For advanced playing that means very different hand usage than on a large nylon or gut harp, ornaments, damping, transposing skills…the whole ball of wax. Which, by the way, are also good to know if you are a pedalist.
But…even without all that a simple tune played with your heart and soul will be stunning.
OK I’m off my soap box now (huge grin).
Biagio
