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Carol,
The easiest way, I think – go into google advanced search, using harpcolumn.com as the domain.
Liam,
The soundholes on that harp are quite striking as well!
It looks like those grommets have a hook on them, so that the string terminates at the front of the soundboard.
William, Dwyn,
Then, I assume it follows that if you know the tension of the core of a wound string, for a given frequency and length, then you know the tension the string is providing.
Hi to all,
Just to follow up on the warping issue – I took a yardstick, and rested it from the base of the second lever (where it read 1″) to as far down the column it would go – this was close to the bottom of the column.Hi Dwyn,
You stated above that “the tension will be governed by the core material” but then went on to suggest that the winding materials will affect the pitch, but it sounds like, not the tension.What I can’t get beyond is that, if the winding material is itself also under tension, won’t that also contribute to the overall tension?
John,
There’s always the cross strung – far cheaper and lighter than any pedal harp, and you can play in any any key, far more efficiently than you can with any harp with levers!
Hi again,
Just to clarify – the “warping” that I’m referring to is in the expected direction, that is to say, the column is bending towards the “string side” of the neck.
Hi to all,
One other thing – the use of wound guitar strings to substitute for bass wires, where this is feasible, seems safe enough if the tension on the strings is kept within the range the harp was built for.
However, its always possible that there’s something, some downside, some difference that I overlooked.
Dwyn,
Even before I read your post, I was thinking that my
giving up on the attempt to use wound guitar strings on the lowest harp
strings was premature.Hi to all,
One final note on the “metal wound guitar strings used as bass wires for the harp” issue:
I’ve spent some time looking further into whether this would be feasible.
