[michael-rockowitz]

Liam,

I’ll have to experiment with this.

[michael-rockowitz]

Liam,

Thanks for the idea.

[michael-rockowitz]

Karen,

Thank you for your kind words of encouragement!

I’m pretty far off from being at the point to consider which stringing material to use – My plan was for something akin to an acoustic guitar string set, with brass-wound strings in the lower registers.

[michael-rockowitz]

One more comment-

I hope the readers aren’t finding all this too boring.

[michael-rockowitz]

Hello to all,

Here’s an update on the process, such as it is – I’ve cut out the inner (hard maple) and outer (walnut) ribs.

[michael-rockowitz]

Bernhard, Tacye,

I thank you both for your efforts at getting this point through to me!

Michael

[michael-rockowitz]

Yes Tacye,

[michael-rockowitz]

Tacye and Bernhard,

You both seem to be saying the same thing, and you both are far more expert in these matters than I am, so I am guessing that you are probably right, and I am mistaken.

[michael-rockowitz]

Hi Tacye,

I am no physicist, nor an engineer, and unfortunately, my grasp of physics is not at all advanced.

[michael-rockowitz]

Hi to all-

I just got my book written by Jerry Brown, on harp construction and design.

[michael-rockowitz]

Karen,

I may have the record so far, but I’m not sure.

[michael-rockowitz]

Gary,

This is one of the perennial semi-controversies on this forum.

[michael-rockowitz]

Tacye,
I find myself wondering if your assertion is correct, that the vibrating length of the string on the harp “ends where the string enters the hole in the soundboard.”

[michael-rockowitz]

Audrey,

Oops – I forgot to include the page with the picture of the plywood neck from Dreamsinger harps.

[michael-rockowitz]

Audrey,

[Author]

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