SLEGS

[Rob MacKillop]

No, not a posh way of saying ''slags'', but an acronym for the Scottish Lute And Early Guitar Society, which met yesterday (and does so every three months). Some bw shots here:

Portraits | Scottish Lute and Early Guitar Society

and a video here: 3rd Meeting – 14 April 2012 | Scottish Lute and Early Guitar Society

Not many of us there, but we are all fully-qualified nerds, and therefore immune to ridicule

 

[Rob MacKillop]

Before anyone mentions it, I forgot to switch off the Velvia colouring on the X100, so the skin tones on the colour shots are not what they could have been. I organised the day, and ran around seeing to everyone, as well as performing, and didn't have my mind on my camera's settings. Tut! Tut!

 

[Brian Moore]

Where are the lutes made, Rob? And what kinds of tonewoods do the luthiers use?

 

[Rob MacKillop]

There are a few lute makers around the world - quite a few in the UK, and some in States and elsewhere. Google the lute society or lute society of America for a comprehensive list. The best ones have waiting lists of a few years.

At different historical periods and regions, different tone woods were used. Soundboards are almost universally spruce. The backs of the bowl are often made of yew, maple, and (thankfully no longer) ivory. Ebony and rosewood have also been used. The lute started in medieval times with four pairs of strings, then just grew and grew to up to 14 pairs - not easy to play! The frets are made of gut, and are tied on. They are moveable for different tunings. The strings are gut, usually from sheep. No one ever used cat gut. That mythology arose because one main centre for gut strings was Catline in Italy. Gut wound with wire started appearing around 1645, so lutes before that time should properly be strung all in gut. Gut strings are still in use today, and favoured by many, including myself, over the modern nylon imitations of gut. However,they are expensive and often break. So, the first string today is usually nylon.

Hope that helped...

 

[Brian Moore]

Very interesting, Rob. Thank you.

 

[Hamish Gill]

Bill2.jpg is a very good shot indeed IMO

 

[Chris Dodkin]

I'm liking Bill2 as well - and the instruments look amazing

Just a bit less contrast when you change to B&W might sort the tones Rob.

 

[Rob MacKillop]

Thanks, Chris. Understood.

 

[Pete Askew]

And in fact they do look a bit like they were shot on film and they make a nice set. I especially like the third one, probably because of the space around it and the more general focus. I think it is difficult to know where to focus the camera sometimes as these are pictures of people playing the lute and so there is a temptation to focus on the lute and its intricate soundboard. But I think I would always go for the eyes unless you were really tight in on the hands / instrument. I suspect you were in most of them though weren't you? It is hard to see for the shadows. I like number 1 also although I'd probably add a touch of vignette to draw the eye more to the hands I think. And can I see the faintest touch of movement in the strings.

 

[Rob MacKillop]

Thanks, Pete. Vignetting to draw attention to the hands is something I never thought of. I wasn't in any of them, as it happens. I should have asked someone to take a shot of me with my camera. I wish I'd had more time to think Bout camera settings, composition, etc, but everyone was asking me questions, asking me to look at this and that. It was all good fun,though, and I'm glad I have a little momento of the day.

All your constructive criticism is always welcome!

 

[Pete Askew]

I also enjoyed and found interesting the information about the instruments. And that description of modality (is that right) on one of your videos was great and both Ina and I enjoyed listening to the piece you played. I found that intriguing about the choice of C or C-sharp and its effect. The history of all of this is pretty fascinating and I can see how it would draw one in. I remember an interview with Nigel Kennedy where he was 'defending' his version of the Four Seasons. As he rightly pointed out, this was the popular music of the day and was probably played with much more gusto than it often is now. A bit like the comment about songs sung in a regional accent. Also maybe also like the vocalisations in The Köln Concert by Keith Jarrett.

 

[Rob MacKillop]

Amen to all that!