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Kynkari, I just went over and checked a few things on the Merlin and talked to a friend who owns one. Here’s the info”
-Nanci says that the access hole issue is up in the treble where the hole is pretty small and about six inches lower than the upper few strings. There are three holes – again, fairly small.
-One well known professional who likes the Merlin: Martha Gallagher. She would be a good person to talk to.
-Just ball parking from the dimensions I’d guess that the tension is a biut lighter than my Selchie. That’s about the same size and uses similar strings in some places. But I like somewhat higher tension than most so I have heavier ones. The Selchie comes in at an average of 30 lbs. per string; my guess is that the Merlin is more like 26 or so. Realize that the more strings and lower the bass the higher the average – this is true for any harp.
Those bass silk core steel wound strings are really sweet; you don’t often find them on a harp of that low a price!
Cheers,
BiagioYou would have to ask Rick (or someone else) about the tension; it’s been a long time since I played one. I do recall that they were firm and responsive; a local pedal harp teacher used the Merlins for her student rentals so they must not be too floppy.
My guess is they would FEEL a little lighter than an FH since they are fluorocarbon. That FC stuff may be at higher static tension than nylon but it is a more elastic material than gut or nylon. So it may not feel as tense compared to the others at the same static tension.
I believe that most owners thread the strings in the front and/or bottom, as you would a Paraguayan.
I gather that you live in Virginia (?) In any case you might join the International Society of Folk Harpers and Craftsmen and see if there is a chapter near you. It’s really worth doing any way. There are pedalists members and advertisers but as well but it’s mostly about “folk” harps. Always lots of good music, articles, and reviews.
Biagio
The Merlin is by Rick Rubarth, who started out making and playing guitars. Rick has done some very innovative things and many people love the rich cello-like tone of the bass strings. The neck and pillar are high density ply (like L&H and several others) and the strings are fluorocarbon. I almost bought one myself but got a little insane in the sawdust department:-)
The only objection I’ve ever heard is that the string access holes are very small, so replacing a treble string from the inside can be a bit of a chore. To deal with that I’ve suggested alligator forceps – those that took the advice report “no more problems.”
Nice harp – it took first place at the Harpcon blind competition several years ago.
Biagio
Couple of remarks about the Crescendo and FH:
These harps are “medium” tension at about 25 lbs per string on average (not “concert” which is up around 35-40 lbs.) The Boulevard is the only one they sell at “concert” tension.
Dusty does provide a string set with (essentially) lever gut in the mid if one prefers the lower sustain and mellower tone compared to nylon. Although it is still nylon in the treble, with wound steel in the bass. So if you go with the Crescendo that would be an option either now or later.
One drawback sometimes with an aircraft laminate board such as on the Music Maker harps, Ravennas, Crescendo, and (I think but don’t quote me) Marion: some treble strings can sound plinky unless they have also tapered it up there. The Crescendos I’ve heard sound just fine, so either they did that or used something other than birch, or solved it in some other way.
Merry Christmas to all,
BiagioThat is good news Amy! I am delighted as no doubt is everyone else on this forum. Yep we can get passionate but shucks that is only because we love music, love the harp, and really hope that many others will:-)
Sometimes kids do not show the teacher those things they may show to their parents, so kudos to you all. I hope that you and your daughter will enjoy a lifetime of beauty with this marvelous instrument.
Blessings to you and to your daughter,
Biagio
Well, I guess if the looks are a big factor maybe the Crescendo would be the way to go(?). Dusty is known for a particular sound that is not pleasing to everyone and speaking for myself I’m not too fond of the rather thick nylon over nylon strings.
If price were not an object and looks are important I would go with the Sligo Harps Luchair. That is the harp that Sue Richards takes on tour but it’s $4,600 last I looked. Guess you get what you pay for:-)
Best wishes,
BiagioOne further word about on-line recordings…..the makers that I know do their best to reproduce the actual sounds of their harps, but of course they will ask the best musicians to record them. Here’s a rather extreme example:
I made a bunch of small double strungs for Laurie Riley that she needed as rentals for a retreat. Natch when that was over I put those that remained up for sale and asked Laurie to make a sound sample.
Here’s the “dirty little secret”: she just at down to play it with her iPad on her knee. People who heard that recording were impressed, but I assure you that was the result of a great musician playing a decent little harp, not the other way around. No way did it sound like that in my hands:-)
Biagio
A couple of thoughts:
-It is very difficult to judge based simply on the recordings; so much depends on the person who played it. IMO all you can really get out of that is the harps general temper and color, it may not sound the same in your own hands.
-That said, all the Dusty harps were recorded by the same person (Harper Tasche) and not in a studio, just in one of their practice rooms with a mike. I don’t know about Stoney End recording, though.
-If the issue is one of price and just considering those two makers; I would personally go for the Ravenna 34 over the Crescendo rather than the Stoney End. The Crescendo has same strings and soundboard as the Ravenna. The main difference is that the Cresecendo sides and neck are sapele. That is a lovely wood with a bright tone, perhaps midway between maple and walnut. But I think that most of the tone comes from the board, not the wood used in the box.
-There are a lot of harpers in this area (Puget Sound) and I’ve heard, though not played, the Crescendo, Marion, Ravenna, and FH. All sound great but to my mind and ear I’d rank them (top down) as FH, Ravenna, Crescendo, and Marion. I’m sure there are other members of my Society that would disagree (grin). So if at all possible try to play these yourself and see what you think.
-If the body and looks are part of the issue I would look at the FH34 as well; otherwise choose the Ravenna. The Stoney End harps are made with high density ply sides, like the Ravenna BTW.
Biagio
Interesting question!
I’d guess that the signal would have to pass from the preamp through a mixer and thence to an amplifier and the speaker. A few people to ask would be Garin Rees at Rees Harps (the maker), and Marta Cook who has toured with one.Biagio
Hi Lauren,
That is great that you intend to minor in music and to select the harp as your instrument. If I may, I would posit a few thoughts for you to consider in addition to what Sylvia and Patricia have written…..
What is your intention as regards the harp? If it is to eventually look toward playing in an orchestral setting than you will probably want an instrument with the characteristics of a pedal harp – guts strings, high tension, heavy and robust as compared to some lever harps. But not all by any means.
How about expense and space? Obviously even a modestly sized pedal harp will set you back in both (grin). An excellent lever harp will too, but not nearly as much.
I am somewhat puzzled by this: “pedal harp repertoire and lever harp repertoire do not go hand in hand.” Certainly there are pedal harp pieces that would be difficult on a lever harp, but the opposite is also true. Going a bit further, some lever harps such as the L&H Troubadour and Prelude are specifically designed and used in schools as “pre-pedal” instruments.
Will it be necessary to buy your own harp at this point? Many colleges have rental or loaner instruments in their music departments. Some well cared for and some not so much, to be sure, but that is also something to look into.
Hope that is helpful and best wishes,
BiagioThere’s a method that double players use for the right hand side and it transfers readily to the left. Place your finger lightly on the string, then slide it up quickly to the lever. One less eye movement to worry about; flipping it down: just reach up to the general area and move the lever down heel of your hand.
Biagio
I’ve used several methods over the years with greater or lesser success. Herewith a few observations…..
-I use RIT fabric dye which used to be easily available in any grocery store here in the US. Navy Blue still is but they changed the Scarlet formula and now only the commercial Rit gives a good color (the new retail formula turns nylon purple!).
-I mix up about two gallons, doubling the recommended amount of dye and adding a little white vinegar and soft liquid detergent (Chiffon is good), about 1-2 tablespoons of each. I dump that in a crock pot slow cooker with the strings, set it on “High” and go back to practicing. I check during each half hour break. Thicker strings and especially fluorocarbon take longer of course – three hours or more. Thinner may be done in an hour all dpending on the dye concentration. When done to taste (LOL) fish them out, rinse, and dry thoroughly. The dye can be saved and used over and over again.
-If I am in a real hurry I will bypass dyeing entirely and just paint the strings with pattern maker’s layout fluid. This does increase the weight and will rub off eventually so it is just a temporary “fix.” It does work well on metal strings though, but an oil based marker is better for those. Sharpie(C) glo-sticks are nice and bright for wire, but everything rubs off eventually.
-Most nylons will absorb a fair amount of water so be sure that the string is completely dry, which may take several hours. I’ll often cut a coil to lengths first and hang them up with a heavy fishing weight so they are also pre-stretched.
-Dupont Tynex is the only kind of nylon that works well on a typically tensioned lever harp; other types stretch too readily. However with a very light harp such as a Paraguayan or Kora ordinary fishing line is very often used successfully.
Hope that is helpful,
BiagioYes I would think that classical guitar would be excellent, perhaps even more than piano. That goes double for wire strung harps where the attack is closer to flamenco than to a gut harp. We usually are told to pluck the string toward the body, but that is not how it is done with wire and nails. The pull is more oblique, and sometimes done with the front of the nail striking forward.
I’m sure that sounds weird to gut/nylon players, but it’s true.
Biagio
Sorry to say, it is very difficult to diagnose this from a distance – a buzz can be cause by many things, and even result from picking up the vibrations of another string entirely. I think it would be best to take it in to the Virginia Harp Center, or a similar place.
Many people find lap harps awkward, at least until they have been playing for some time. I even put my lap harps on custom stands so that they are at the height and angle of a floor harp.
Biagio
Bravo! The more one understands one’s instrument the better – I wish more players took a technical interest. The best way to learn is to actually design and build your own small harp – for guidance there consider joining the Harpmakers Group:
https://groups.yahoo.com/neo/groups/harpmakers/info
It’s difficult to compare tensions across various models and makers of lever harps without knowing the specific string compositions and vibrating lengths – which most consider proprietary and will not publish in detail. A better thing to do anyway would be to judge by how they feel, but that is also a little vague.
Many players are thinking of how stiff the strings feel when they talk about “tension” but what that really is – is “resistance.” Fluorocarbon is more elastic than nylon and denser than gut, so while an FC string may not feel as stiff as either at the same length and frequency it may in fact be at higher static tension than both.
To my hands the Crescendo is about in the middle for tension between a Troubadour (high) and a typical “therapy” lap harp. But some of the latter can be quite high, such as the Timothy Niamh.
Best wishes,
Biagio
