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Bernhard,
In an earlier post, you mentioned that Tynex is going to be 10% thicker than gut at a given vibrating length and tension. Fluorcarbon will be 7% thinner than gut. What happens to this relationship when you get into nylon core with a nylon wrap, for example? Does that percentage change?
I may be getting off the subject a little here, but I’m curious about how to calculate bass wires. In other words, if I have a wrapped steel core bass wire and I want to change to fiber core wrapped bass. How do I know how much thicker the fiber has to be ?
What I’m fooling with is a harp of modern manufacture. But the wood it was built from was birdseye maple that was submerged on the bottom of Lake Superior for 111 years. The wood was dried for two years and then I had it made into a harp. But, what I’ve found over the years I’ve had the harp is that it’s got so much sustain-so much ring- it’s almost uncontrollable. So I’m fooling with re-stringing the bottom 2 1/2 octaves to try and tame it just a little bit.
I was interested to read that you felt confident enough in the nylgut to put them on your Grecian. It never occurred to me to try that. I have an 1890 L&H single action that still has it’s original soundboard intact. My L&H is played everyday. I dearly love it. But I do agree with you-visibility of the gut strings is an issue.
Who is still selling nylgut?
The question of “starting over” raises the question of, to what degree and for how long? I have been through the process of making adjustments little by little over a two-year period, and that was hard on my body. I think it might be more far, in changing teachers and situations, to take the time out to spend a few months just on technique and position, and to get it working right before tackling repertoire. Then one doesn’t have to keep “harping” on this or that, which is a drag for the student. I do think one has to be up front and honest with students whenever possible, and to let them know your expectations and rules, so they aren’t learned by omission and commission. Students who don’t have a really good foundation, and just add on layers to it, to my ears, never really reach excellence because the foundation is lacking. So, to not start them over in some sense, is grossly unfair. It depends how systematic your approach is. And of course, it depends on the student.
This was in the year 1976, that I saw the catalog. It probably used Brian Boru as a model name. McFall strikes a chord, perhaps that was the company.
Maybe it was just the recital I went to. He uses a lot of augmented chords or something that I get too much of.
Bernhard, Thank you for your thoughtful input. I will leave my strings as is. I am told that my prelude has a great sound, so I will not tamper with
Hi Andy, My Prelude is in mahogany, the Aziliz is in natural maple with a curly maple veneer on the soundboard, the Clio is in pearwood, which is similar in color to maple with a slight pink overtone.
Doing exercises! Whoo hoo! Someone actually keeping resolutions! I’m impressed!
My resolution is to keep to the exercise regime my physio gave me to keep the our first instrument (the body!) in good shape for playing…..I’ve been a bit slack since it has been the summer, and instead of doing all those strength exercises and stretches,
“Curly would kill for one.”
Yep, beg, borrow, steal, sell my soul…all of that. Maybe I just need to get a job in Germany so I’m earning Euros and can afford to buy one that way..as the exchange rate destroys any chance of ever affording one from this part of the world…
I once had this bold and cunning plan that I would get them to repair an old
