TERTULIAS
28 DE MARZO A LAS 20.15 HORAS
Historia de la cuerda
desde el siglo XIX hasta el siglo XXI
Mimmo Peruffo (cuerdas Aquila)
Tradución: Amalia Ramírez
Aforo limitado
Reserva tu entrada en: tiendaramirez@gmail.com
- Ajustes de la guitarra a finales del siglo XVIIISiglo XIX
- Materiales históricos y su comportamiento: materiales de tripa y de seda
- Igual tensión versus igual sensación
- Siglo XIX: cómo medir el calibre de una cuerda
- Los estándares de la afinación en el siglo XIX
- Las cuerdas entorchadas en el siglo XIX: El equivalente a la tripa, el índice de metalicidad, el índice de inarmonía
- Informaciones históricas de fuentes antiguas, muestras de cuerdas de museo
- Las afinaciones estándar del siglo XXSiglo XX
- La aparición del micrómetro
- La producción de las cuerdas de tripa, la introducción de las perfectas quintas cuerdas y los problemas con ello relacionados
- Ajustes de las cuerdas de guitarra antes y después de la II Guerra Mundial
- La aparición del Nylon y otros materiales sintéticos
- Ajustes del siglo XX versus ajustes del nylon moderno: ¿cuáles son las verdaderas diferencias?
-Cuerdas modernas del siglo XX: la verdad al otro lado del muro
- La aparición del "Flucarbon", Cristal y otros materiales nuevos.
Biografía:
The creator and designer of the Short Bass One is Mimmo Peruffo chairman & owner of Aquila Corde Armoniche Srl, a company specialized in the production of strings both for retail and in bulks for companies manufacturing musical instruments.
Always Peruffo stood out for his passion for Lutherie thanks to the skills transmitted from his grandfather who was a band director and luthier himself.
Short Bass One comes in contrast with the current procedures for the design of a musical instrument. It is in fact realized literally ‘around’ to a new type of strings he invented: an elastic base loaded with copper powder in order to provide maximum power of the bass. Aware of the potential of this new and innovative kind of string Peruffo therefore began a series of tests that led to the realization of an acoustic bass of small size yet of great power and acoustic homogeneity that actually realizes the sound of the double bass both in acoustic and amplified. Finally, a totally portable’ Double bass’. From now on also a common guitarist can aspire to become a strong bass player.
You’ve never heard about such a musical instrument before, just because it did not exist before.
Always Peruffo stood out for his passion for Lutherie thanks to the skills transmitted from his grandfather who was a band director and luthier himself.
Short Bass One comes in contrast with the current procedures for the design of a musical instrument. It is in fact realized literally ‘around’ to a new type of strings he invented: an elastic base loaded with copper powder in order to provide maximum power of the bass. Aware of the potential of this new and innovative kind of string Peruffo therefore began a series of tests that led to the realization of an acoustic bass of small size yet of great power and acoustic homogeneity that actually realizes the sound of the double bass both in acoustic and amplified. Finally, a totally portable’ Double bass’. From now on also a common guitarist can aspire to become a strong bass player.
You’ve never heard about such a musical instrument before, just because it did not exist before.
Mimmo was born at Arborea, in Sardinia isle. Chemicol, pupil of the stringmaker Arturo Granata of Melzo (Milan) and researcher in Caldogno, a village near Vicenza (where he founded the Aquila Corde Armoniche S.a.s) devotes himself, since the 1983 year, to the study and re-creation of gut strings in use in the Renaissance, Baroque and Classic eras. In the field of research on modern materials, in 1997 he discovered and brought onto the market Nylgut, a true “synthetic gut” to substitute for nylon on historical plucked instruments and on classical guitar, ukulele, ouds, charangos etc.
His works have appeared in ‘Recercare’, ‘F.O.M.R.H.I quarterly’, ‘The Italian Lute Society Bulletin’, ‘Orfeo’, ‘The Lute Society of America Bulletin’, ‘Quattrocentoquindici’, ‘Il Fronimo’, in the volume ‘Gendai Guitar’, ‘Das Musikinstrument’ etc.
He took care of the gut string- section in the musical instruments catalogue of the GNM in Nürnberg and the volume on the Bergamo 1998 exhibition “Evaristo Baschenis and still life painting in Europe”. He was the first to carry out an accurate research on the gut strings pieces from the first half of the 18th century in the Museo Stradivariano in Cremona and , in April 2000, the gauging of the original violin gut strings which belonged to Nicolò Paganini. He has been reading papers in the conservatories and universities in Vienna, Dresden, Milan, Venice, London, Brussells, Florence, Brescia, The Hague, Gijon, etc.
When he have spare time (!) he plays lute, guitar and ukulele.
His works have appeared in ‘Recercare’, ‘F.O.M.R.H.I quarterly’, ‘The Italian Lute Society Bulletin’, ‘Orfeo’, ‘The Lute Society of America Bulletin’, ‘Quattrocentoquindici’, ‘Il Fronimo’, in the volume ‘Gendai Guitar’, ‘Das Musikinstrument’ etc.
He took care of the gut string- section in the musical instruments catalogue of the GNM in Nürnberg and the volume on the Bergamo 1998 exhibition “Evaristo Baschenis and still life painting in Europe”. He was the first to carry out an accurate research on the gut strings pieces from the first half of the 18th century in the Museo Stradivariano in Cremona and , in April 2000, the gauging of the original violin gut strings which belonged to Nicolò Paganini. He has been reading papers in the conservatories and universities in Vienna, Dresden, Milan, Venice, London, Brussells, Florence, Brescia, The Hague, Gijon, etc.
When he have spare time (!) he plays lute, guitar and ukulele.
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