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Wow, ask and ye shall receive. These both sound like a good deal Elletaria. Incidentally and speaking of Triplett, one friend re-strung her Zephyr with phosphor bronze and it sounds pretty good. She says she does not have a problem with tuning or string breakage despite keeping the bridge pins. Very generous of you Tacye!
Biagio
Elletaria, I am bemused by the “usual problem of constant tuning” issue, if issue it is. How often a harp needs tuning (any harp) depends on ambient climate, how hard the wood, how hard you play, what kind of pegs and more. So I can only say this:
In my apartment I probably have to tune my rock maple wire strung (tapered pegs size #5) fairly stable climate less often than my nylon strung harps. But the latter are at higher tension with thinner soundboards, so I’d expect that.
Outside – for example last weekend at our annual Society picnic – we were all retuning after a dozen or so tunes, nylon or wire. I would not call that “constant” but certainly a wire strung is touchier than nylon or gut, no mater where you are:-)
If someone made a small wire strung with guitar tuner machines it would be nice – but clarsairs seem to be even more wedded to tradition than pedalists so not likely to see one like that.
The Folcharp costs less than Ardivals mainly because James uses a three part box construction rather than carving it out of a single block. Triplett makes a nice little wire strung that way too (but they are a larger shop so price theirs higher). You will tune it as often as any other harp – out of tune strings are just more noticeable on wire than nylon or gut.
Off topic a bit – we went through our 200 tunes in the Society tune book to pick out those playable on wire – to keep it simple just those in G or C, with gap scales for C tuning (no Fs). There were a surprising number of them but we have to recognize that a wire harp is a very different animal – you just can’t play it like nylon or gut so some tunes are just not suitable.
Biagio
I think since you ask that any good wire strung will be heavier than an equivalent sized nylon strung – using lighter woods such as poplar or (shudder) ply will have a really ugly sound and far too much echo/reverb. That at least has been my experience (I’ve made a couple to experiment) and that of other friends. As to the Dreamsinger specifically:
I (almost) never diss another harp maker but will say that if a harp is significantly less expensive than it’s peers that is reflected in it’s quality. That does not make it “bad” just “not as good.” An example on the nylon side would be a Rees Harpsicle compared to the Harps of Lorien Rafael. The former is fine for practice informal gigging etc. while the latter is professional quality.
I don’t like the way Morris strings them (one long string for two notes) and suspect that is why strings break more often on his. One of my friends who has one is happy with it but she strings the usual way (one string per note).
For my money the best small wire strung for a lower price than the Ardivals is the Folcharp by James Skeen. Allison Stevick join in here…..
Best wishes,
Biagio
Hi Carl,
Sorry for not responding to this earlier. If you have not yet found someone you might try mentioning this on the Yahoo Harpmakers forum and perhaps the Harplist too. The former would probably be your best bet – you know how makers talk to each other and are a pretty tight group. Word would soon get around.
Both are “restricted” meaning you have to say why you want to join (e.g. “I am a harp maker” as if they did not know) – but heck I’m sure you would be welcome in both!
Most of the lever harp makers that I know prefer a hardwood veneer (thereby avoiding an outer rib) but not all, and personally I am not sure that a hardwood veneer is preferable to a spruce one, plus rib. Just easier.
You could also try the Folk Harp Journal; advertising of things like that is free to members of the International Society of Folk Harpers and Craftsmen. Not a bad outfit to join and I’m sure you would be a valued member if you are not already!
Best wishes,
Biagio
This question came up a while ago and the consensus among five of us was (roll of drums) ballroom dance shoes. Cuban style have two inch heels – one for example is marketed by Capezio. Those sell for between $60 and $100 depending on the outlet. You can probably find less expensive ones but be careful about the sole and instep – leather for the one and reinforced for the second. Check the forums for the full thread.
Biagio
Well, wrt the “dulcimer” that name is given to two totally different instruments so to be clearer:
The hammer dulcimer is a zither played with (as it’s name suggests) hammers. Many consider it a forerunner to the piano. Typically 3-5 octaves (chromatic) and strung with bronze or brass; it is usually played on a table. A good one will cost from $500 up.
The lap or mountain dulcimer today is a uniquely American instrument, although some suggest that it has a precursor in several Old World instruments, in particular the German scheitholt. Unlike the hammer dulcimer it is a modal instrument – typical open tuning would we DAD or CGC, sometimes the root is doubled in the treble. These are about $200 up for good ones, and played on your lap. You can get pretty fancy but a very traditional style is pretty simple (since it is modal).
Very recently two excellent musicians – Nic Hambas and Ken Bloom – got the idea of adding an arched bridge to a lap dulcimer, giving it a deeper body, and playing with a violin bow. It’s like having a pocket cello!
If a lap dulcimer interests you I have one for sale (but that is not why I suggested it ha ha).
Biagio
Other than the lyre and kora , I can’t think of any stringed instrument with similar technique (and not really that similar come to think of it). However there are several instruments that sound very nice with the harp. Winds, as Wil suggests in particular (to my ear) recorders and flutes. Cello or violin is always great – or consider the fairly new bowed dulcimers by Nic Hambas and Ken Bloom.
If you want to stay in the “harpish” realm however consider the wire, double, or cross strungs.
Biagio
Ha ha, Balfour I was just funning. Though it did occur to me that other readers might find it interesting. How many harps do we really need, anyway?? I’ve still one and maybe two more that mostly just sit there.
I got into doubles because Laurie is (duh) into it but it is not really “me.” Sort of wish I had kept one of those I made for her workshops and students but at some point one must say “enough.” Besides I really really want those lower octaves!
It interests me though that there seems to be an idea out there that playing the double is difficult. Actually it’s easier in many ways if you are not playing classical music and sure is a lot easier to build.
It’s also interesting to me how things change: thirty years ago many of the “folk” harps being made in the US were wire strungs or variations of the Clark/Morley. When most people heard “harp” they immediately pictured a pedal instrument.
Then folks like Bolles, Witcher, and Caswell started to experiment with designs – a bit later Laurie and Liz Cifani came up with the modern double – and gosh now wire and double are starting to catch on after being relegated to the “too hard to play” specialty category.
Ain’t it great?
Biagio
Allison, you are very welcome!
Beth Kolle and Laurie Riley have produced two books of arrangements for the double; you can order them here:
https://laurierileymusic.wordpress.com/books-by-laurie-riley/
Laurie also has a DVD out but, conveniently, she recently posted the entire thing on Youtube:
https://www.youtube.com/watch?v=VMG9lZOwJds
B&L’s Beginner book for the double only has a few tunes but a lot of special exercises. Their versions of Chanter’s Tune, Einini and Si Beag Si Mor in the beginner book will give you a big boost into more advanced arrangements to do on your own. I no longer have the second book but will be happy to give you the beginner one.
I understand that Cynthia Shelhart also has a doubles collection – haven’t seen that one. Her Tunes to Go though is all lead sheet (400 of them) – very good source to play around with the double (or any other).
Have fun!
Biagio
Lovely Allison! Boy, you sure mastered “doubling” in a hurry!
Balfour, can’t help with a “pedal Celtic” but if you would be satisfied with single action: Arsalaan Fey is back in business after a hurricane/fire devastated his workshop. Arsalaan took over and refined the Douglas/Dilling harp which he now calls the “Joy” (to honor Jocelyn “Joy” Chang). He has said, once in a while, that he might try modifying it to double action (designs do exist for that and he owns the patents from Clark, I think). There is a Joy for sale right now on ebay:
Blessings all,
Biagio
Hi again Allison.
A few more “thoughts”….for Truitts the bridge pin groove should be 1/2″ (1.27cm) above the neck. A standard pin is 1” (2.5cm) long from groove to end so there should be enough room. Adjust the Z pegs if need be but not the pins (much).
I really hate stringing and tuning stringing and tuning especially a double and it may be too late for this but: I usually get all the strings on and tensioned up to the point where the sort of hold “a” tune – I don’t care what it is just want some tension. Then I take everything up a 1/2 step above the intended note except the thinnest strings (just try to come close to the actual note there. Then I go away and have a glass of wine, chill until the next morning.
Do it again and perhaps again a few hours later. More vino. By the morning after that things should be sounding a lot better. Any double is a pain to do since when you tune one side the other side goes out at first and that is especially true when the strings angle in, as Gary does it. Doing it as I suggest will get them stable a lot faster. This is for nylon – FC stretches much more (and metal core strings should not be taken above the intended pitch).
Enjoy!
Biagio
Hi Allison,
Boy that harp’s a cutey (and so are you ha ha). Yeah, zither pegs are a pain untile you get used to them and I do wish that Gary staggered them from side to side instead of drilling straight through. When we do that the player has to be pretty careful about how many wraps they put on the peg or they butt into each other. So you want to see about 1/4″-1/8″ left of threads when the string is holding pitch – which of course means guaranteed rewinding the first few weeks! Same with bridge pins.
Write me offline if you have trouble with the Truitts – I’ll be happy to share some tips but in general they are a lot easier than Lovelands. Here’s a quickie: if possible use an in-line battery powered drill driver rather than the egg beater type that Betty recommends ( I use an old beat up Black & Decker I picked up at a yard sale). For cherry you only need to start the tap a few thread – or not at all. Get GOOD size T-6 Torx hand driver for the machine screws – that L wrench is useless. That said they are by far the best and easiest lever to install accurately.
It is unheard of to me that Tynex would have bubbles – definitley a bad batch!! For what it’s worth…I suggest buying Tynex (and brass or bronze for that Folcharp) in bulk – I saved a lot of money that way over the years. Write me offline about how to color those. I get the nylon in 25 yd. rolls from Vermont strings and the metals from The Instrument Workshop:
http://www.robinsonsharpshop.com/strings.html
You will get used to the eye focusing. One professional whom I know has double vision even in normal circumstances – but Beth can play the 2x!!
Best wishes,
Biagio
Harp tuning peg heads are manufactured to fit standard clock key sizes and some older harps (e.g. the Clark, Caswell Bard) do not have the more common sizes. You could measure them with a caliper and then research clock keys, make a handle and so on but that seems like a heck of a lot of trouble. Others may have been a standard size but have become worn over time and use (zither pegs often have that issue)
An alternative – a bit pricey I admit – would be to buy Dusty Strings’ Universal wrench – which is adjustable. Frankly, it is just a size #0-1/4 tap wrench with a nice handle, but it will do the job for you….and any other harp that you own.
http://manufacturing.dustystrings.com/harps/accessories/tuning-wrenches/
I keep that tap wrench in my goody bag (along with spare strings etc.); they only cost about $5-$10 at any hardware store.
Good luck!
Biagio
Hi Melinda,
First, try these harps out for yourself before thinking about alternative stringing unless the maker offers it – and try that out too. One can mess around with any harp but it’s not usual to do that on a new purchase. Since I brought this up though here’s how one might like to consider changes, or for that matter just evaluate an existing harp:
-Sit at a playing position and just look down the row of strings. Are there sudden changes in the size (diameter) or do they progress gradually in size from bass to treble? Some people find sudden changes difficult to accommodate, particularly if some are rather large compared to adjacent strings.
-Play a very slow glissando from top to bottom and back up. Is the tone consistent or do you notice that some spots sound brighter and some mellower? If the latter, does it bother you or do you like it?
-Play scales all the way up. Are there places where the strings suddenly feel looser? Places where it is more difficult to place firmly? Those will make it more difficult to play and can even cause injury to the joints if so.
-Play successive fifths and triads. Do they all sound and feel good or do some sound out of tune (do they clash with each other) compared to those same chords in a different octave (assuming that the harp is in tune)? By that I mean (for example) a C triad in the bass simultaneously with a C triad in other octaves.
-Evaluate the effort needed to play at significant volume. Harps are made with different tensions – higher tension means greater potential volume usually bit also more effort.
-Ask about replacement strings and consider your budget. Gut costs the most, is more hydroscopic, and tends to be more prone to breakage.
-Finally, try out other harps for comparison even though they may be outside your budget or which you may not have noticed in you preliminary search. For instance, many people love the Sligo Luchair (a higher priced one). Marini Made harps is exhibiting and has gained a fine reputation for lower priced harps and will be exhibiting. Other exhibitors are harp emporiums – they may have a nice used harp that you just love.
Of the harps you mentioned and that I have played the Ravenna and Crescendo are “medium” tension, have consistent tone and feel, and use the same strings. Personally I don’t much like the rather large wound nylon over nylon ones – but I have small but powerful hands and would prefer a different design. For other people not a problem.
The Voyageur with standard strings is higher tension and there are sudden changes at around C below middle C and then again in the last (bass) octave. That bass (steel core, fiber bedding, bronze wrap) also sounds different than the other octaves. Hence the “customization” I mentioned. On the other hand, it is a nice harp for the price, volume is very good and if Jerry does offer that “customized” version I would prefer it to the Ravenna/Crescendo. That is getting into personal preferences though LOL.
So have fun at Somerset, try out lots of harps, and enjoy the “voyage!”
Hope that helps!
Bigio
Hi Melinda,
By string band I mean the design of the strings from top to bottom. You have probably read that, for example, the Dustys you are considering are nylon down to about B below middle C, then wrapped nylon on nylon, then steel fiber nylon wrap. The Voyageur is nylon to C below middle C, then steel fiber nylon, then steel fiber bronze. Sligo Harps’ Luchair offers either nylon or fluorocarbon….and so on with different harp makers and designs.
The Voyageur is a kit primarily, and the string band design is good but not meant to be expensive and this is reflected in some places where tension drops suddenly, then rises suddenly. This is sometimes true of other harps so I’m not picking on the Voyageur, I just happen to be writing a paper using it as a model.
You can customize a string band by changing some of those parameters – monfilament (gut nylon or fluorocarbon) and the heavier wrapped strings – steel fiber bronze, bronze fiber nylon and etc. to get the tone and response you want. Provided that you don’t change the tension appreciably.
Some makers will not warrant their harps if you do that . Others offer several different options and will also customize for you. For example, the Rees Mariposa offers either a range of A to C or F to A. Most makers are happy to consider an individuals preferences’. Musicmakers, being primarily a kit supplier, is especially accommodating.
It’s a lot smoother and for me nicer to play with that customizing – but of course the strings will cost a bit more than the standard set. For me at least it’s worth paying $100 or so more to get exactly what I want, when I’m looking at around $3,000 for the harp itself.
Biagio
