Protetto: Pure gut strings: technologies. on Silk strings

Recent researches by Mimmo Peruffo seems to bring light on the term "canti rinforzati" (reinforced chanterelles) which is often used in the Roman accounts (see Patrizio Barbieri).

To understand this point we need to cover:

• the difference between low twisted and high twisted strings:

1. position of employment
2. chemical treatment
3. effects of polishing

• what a roped string is and its limits
• difference between split and whole gut
• the mystery of the prohibition of sliting the guts in Rome 
• the "canti rinforzati": Mimmo's video and its implications

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I apologize I was not able to edit this video, I couldn't understand why. So, all the technical issues, the low connection problems and some chats not strictly pertinent to the topic are still there.

My personal idea, after seeing the video below which I got from Mimmo Peruffo this summer, is that there is a linear connection between the Romans' Canti Rinforzati (see Patrizio Barbieri in the link section of the resources page in the website) and the prohibition of splitting the guts (which was punished with the ban from the corporation for several generations). It was not just a brand name, but a special technology applied only in Rome, in that period, when so many lambs were slaughtered and the best strings were produced.

And if my perception could be confirmed, this means that these strings, realized this way, were exceptionally strong (using the strong cordone of the gut to sustain the tension and winding the soft part of the gut around it) and exceptionally vibratile, like the Venice or Roped of today. So a strong first string, with no need to have it stiffened by alums, with all the richness of overtones of a high twisted string.

I wish I could try something like this!!!

After the above-mentioned topics, we briefly spoke on how to calibrate correctly a new micrometer, then I showed my two violas to show the different bridges I had, and I tried to expand on the problems each of them gave me and how I solved, unfortunately with the use of strings not really meant for that period or that position

With this kind of bridge, on my early model viola, I was not able to use a pure gut 3rd, at least not in Italy (I was criticized at an audition in Britain for a too modern set up, a wound 3rd) and not with an Italian style bow (more reactive than those preferred by British players).

On another viola, a small and old one I had a late 19th century set up. The sound of the instrument was very dark and didn't have a great projection, so I had on it a Venice 2nd. Normally I wouldn't suggest this kind of string for a viola, too bright and scratchy. Could be great for a cello if the sound needs to be more bright and open. 

Never use a Venice as a first, it would not support the tension and break. 

Here are the two articles mentioned: the one on Paganini's strings, with the drawing of the template of the bridge, and the article by Dmitry Badiarov explaining how polishing, chemicals and twisting affect the sound and life of a string.

At the end, we shared our enthusiasm for the job on silk strings for the Cello da Spalla that we are doing in the Dmitry Badiarov mentorship group: Eric Aceto contacting Alexander Raykov and working on them with him, and Takumi Takakura contacting Marusan-Hashimoto, a historical factory in Japan. I hope I can visit both of them this year!

Here below is the video of Alexander making strings, in youtube, an article by him with many updates, and the comment in Fomrhy quarterly discussing silk strings and their possible (I would say probable) implication in loaded strings and Catlines (the other name for Roped of Venice).