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LLD ® Hagen 13c Baroque lute

Bowl in Ribbon Striped Sapelli • Warm treble, strong mid-range and deep full bass sound • LLD ® FG-B case included

LLD ® Weiss 13c Baroque lute

Bowl in Flamed Maple • Bright treble, strong mid-range and full bass sound • LLD ® FG-B case included

Excl. Tax: €2,375.00

Availability: In stock

SKU: LLDI02-W

• Model: Weiss
• Type: Baroque lute
• Number of strings: 13 courses
• Tuning pitch: A 415 Hz
• Tuning: Aa, Bb, Cc, Dd, Ee, Ff, Gg, Aa, dd, ff, aa, d, f
• String length: 690 mm
• String spacing at the nut: 75,5 mm
• String spacing at the bridge: 140 mm
• Ribs: 9
• Weight: 1100 g

Details

Unique masterpieces produced by the hands of craftsmen

Quality, refinement and tradition. Le Luth Doré® lutes, early guitars and mandolins are designed in Paris by experienced european luthiers, and handcrafted in our high quality new China-based manufacturing facility, by today’s top luthiers in the country.

LLD® instruments represent the culmination of over 40 years of music instruments manufacturing by our European and Chinese luthiers and 20 years of music expertise by world famous lutenist Miguel Serdoura.

The tone, resonance, and beauty of fine instruments are all dependent upon the wood from which they are made. The wood used in the construction of LLD® lutes, early guitars and mandolines is carefully chosen and aged to guarantee the highest quality.

Each LLD® instrument is a work of art that begins with the selection of the finest materials and is brought to perfection with great passion.

With select solid woods and impeccable workmanship, LLD® instruments will satisfy anyone looking for a truly superior sound and an unique experience with exquisite early music instruments.

All LLD® instruments are sold with modern, exclusive and refined fiberglass hard case, featuring a convenient climatic system to ensure your instrument great protection against travel, storage and climate changes.

History of the lute

The lute is probably the most widely distributed type of stringed instrument in the world. In Europe, the lute enjoyed great popularity from the 15th-18th centuries where it had an important role in both courtly and popular music. It is depicted with great frequency in artworks from the Middle Ages, Renaissance and Baroque periods. It was the principal plucked string instrument of its time. It originated in the Middle East as the Arabic ʿūd. The instrument was brought to Europe in the 13th century where it was adapted to suite local musical styles. The European lute has a deep, pear-shaped body, a neck with a bent-back pegbox, and strings tied to a bridge glued to the instrument’s belly. European lutes have a large, circular sound hole cut into the belly and ornamented with a perforated rose carved from the belly’s wood.

The earliest European lutes followed the Arab instruments in having four strings that were plucked with a quill plectrum. By the mid-14th century the strings had become pairs, usually referred to as courses. These were tuned in unison or, in the bass strings, at the octave. Late in the 15th century, the plectrum was abandoned in favor of playing with the fingers, movable gut frets were added to the fingerboard, and the instrument acquired a fifth course. The frets were important as they opened the way for lutes to play multiple notes or chords and still be in tune.

The Renaissance lute

By the 16th century the classic form of the Renaissance lute was established, with its six courses of strings (the top course was a single string) tuned to G–c–f–a–d–g, ascending from the second G below middle C. Later in the sixteenth century, additional courses of strings were added to the 6-course instrument. Some of leading lute makers of the time included Laux Maler, Hans Frei, Vendelio Venere, Moeses and Magno Tieffenbrucker.  

As the instrument developed, it playing technique was systematized, and a custom made tablature notation developed using the horizontal lines of the traditional staff to represent the courses of the lute and then, either letters or numbers to indicate the notes. In effect, the tablature tells the player the frets to be stopped with the left hand, the strings to be plucked by the right hand, and the rhythm as well.

The archlute, chitarrone and the theorbo

By the early 17th century the 7-course lute was extended by the addition of extra basses, resulting in lutes of 8, 9 and 10 courses. Instruments changed in line with these additional bass strings, or diapasons, which required the widening and lengthening of the neck and head of the instrument. Such modified instruments were called archlute, chitarrone and the theorbo.

The Baroque lute

Shortly after 1600, modified tunings were introduced by French lutenists giving rise to a few decades of great experimentation. However, by around 1650 the scheme known today as the "Baroque" or "D minor" tuning became the norm and the number of strings grew even more to 13 by the 18th century. The first six courses outline a d-minor triad (ascending A-d-f-a-d’-f’) followed by an additional 5 to 7 courses, descending stepwise from the low A. Lutes in D minor tuning today are known as Baroque lutes and can have 11, 12 or 13 courses, according to the nature of the different types of repertoire.  

Modern lutenists tune their lutes, vihuelas, archlutes or theorbos to a variety of pitch standards, ranging from A = 392 to 470 Hz, depending on the type of instrument they are playing, the repertory, the pitch of other instruments in an ensemble and other performing expediencies. No attempt at a universal pitch standard existed during the period of the lute's historical popularity. In modern days it is usual to tune the Renaissance lute in A to 440 Hz and the Baroque lute in A to 415 Hz.

© Le Luth Doré SAS

Characteristics

Wood and color characteristics

The LLD® Weiss 13c Baroque lute bowl is made with Flamed Maple, a highly dense and reflective wood yielding a loud, projective, and sustained tone. Maple wood is celebrated both for its range of figuring patterns, from curly or flamed to quilt to birdesye, which add beauty to an instrument.

The orange goldish color of our mat finishing oil varnish used with our Flamed Maple wood makes our LLD® lutes look aesthetically very similar to the varnish color of historical lutes from the 16th, 17th and 18th centuries.

Sound characteristics

The most important sonic quality maple is known for is its linearity — it is a very predictable transparent-sounding wood. It reflects exactly what the design and the player's style bring to it.

Flamed Maple is a much appreciated wood for its transparency of sound, reflecting precisely the sound qualities of the soundboard but without coloring it too much. The Flamed Maple of our LLD® lutes delivers an appropriately loud tone that projects well.

Flamed Maple or Ribbon Striped Sapelli?

Ribbon Striped Sapelli is an harder wood then Flamed Maple. Both tend to be direct, bright and warm at the same time, but Ribbon Striped Sapelli exhibits warmer treble presence and deeper basses than Flamed Maple – that will be the main sound difference among this two woods.

Flamed Maple as a very direct but warm sound, and has fewer overtones or complexity then Ribbon Striped Sapelli. What you hear initially with Flamed Maple, is what you get.

The sound the lute projects at the attack is still the same sound you will hear as the note decays. Flamed Maple is a wood that has to sampled with age to be fully appreciated.

Ribbon Striped Sapelli sound will be a little less direct than maple, with more overtones, and adds a bit more complexity to the sound of the lute overall.

The soundboard

Spruce is the most common tone wood used for the soundboard of the European lute family instruments. LLD® uses only high grade and excellent quality solid spruce soundboards on the construction of its lutes.

The top, or soundboard, as the name suggests, bears great influence on the way a lute sounds, though the back also is a key component. The top seems to affect the lute's responsiveness, its sustain and even some of its overtone coloration and quality of each note’s fundamental tone. Taking in consideration the differences of the Flamed Maple wood (which develops more the fundamentals of the sound) and the Ribbon Striped Sapelli (which develops more the overtones) we have chose two different sorts of spruce in order to equilibrate those specificities.

The LLD® high grade tight grain spruce used with the Flamed Maple lutes is a high grade well-rounded tonewood with high stiffness and relative lightness. 
It translates to a broad dynamic and strong fundamental sound.

Instrument settings

All our LLD® lutes are carefully inspected in Paris before shipment to the customer by a professional, conservatory-trained lutenist and adjusted as necessary by a luthier in Paris specializing in making, restoring and repairing historical and modern professional quality lutes.

Our instruments are precisely designed and then adjusted to assure proper scooping of the top and height of the nut and the bridge to provide optimal action of the strings.

• Top in high grade tight grain solid spruce, finished and slightly varnished
• Bowl in flamed maple, finished and oil varnished in orange color
• Spacers in ebony
• Neck, bridge and pegbox in maple, finished and varnished in black
• Pegs in ebony
• Fingerboard and soundboard frets in ebony

• Slightly curved fingerboard (about 2 mm)
• Fingerboard frets in natural sheep gut
• Nut in natural cow bone
• Laser carved rosette
• Strung with Aquila Nylgut® strings
• LLD® FG-B case included
• Two LLD® L1 case straps included

4 Reviews For "LLD ® Weiss 13c Baroque lute"

  1. It is beautifully designed and constructed.

    by Richard Civiol on 04 Mon,2017

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    The LLD® Weiss 13c Baroque lute model I bought has all the qualities a lutenist might need.

    It is beautifully designed and constructed. The string length is perfect, allowing for comfortable playing of the music for both the 11 and 13 course repertoire. The action is very good and the basses are well set on the bridge which makes for easy playing.

    Visually, the rosette and the flamed maple ribs separated by thin lines of ebony stand out.

    The sound is rich and powerful with the lower register well balanced.

    You will not be disappointed with the pegs, the tuning is very easy.

    The case is light, strong and well made. The price is exceptional and the waiting time is incomparably short. LLD® instruments will delight students and professionals. I strongly recommend you to try and get one!

  2. Beautiful Instrument and Extremely Helpful Service

    by Stephen Sooter on 02 Thu,2017

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    Le Luth Dore, Weiss 13c Baroque Lute

    Although I have played guitar for years, I am a beginner at lute playing. I was learning a Bach lute suite transcribed for guitar, when I heard it played on the lute. I fell in love with the sound. After hearing other lute composers and doing a little research I decided to take up the instrument, and discovered Le Luth Dore. I’m so glad that I did!

    I was a bit nervous about buying a lute on line, especially from another continent, but I have been pleasantly surprised. I am extremely happy not only with the lute itself, but also with the service Miguel provided. It is a rare thing today to be able to contact the owner of a business directly. I have written to Miguel a number of times with questions, and he has always been very helpful. This was true not only through the transaction, but he has offered helpful advice since then with questions I have had.

    The lute is truly beautiful, and I have a hard time putting it away! Aside from that, I would just like to say that I found Miguel to be a wonderful person to work with. With his Method for Baroque Lute, the books of lute tablature he has produced, the CDs he has recorded and the instruments he is offering, he is doing a great deal to promote an overlooked - but extremely beautiful genre of music!

  3. Excellent lute for a more than reasonable price

    by Markus on 01 Thu,2017

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    From the LLD® Dowland 8c Renaissance lute I have already bought on November 2015, I knew, that the LLD® lutes are build very beautiful and also have an assertive sound, that is very suitable also for ensemble playing. It was even stronger than my first Baroque lute, that was built by a German lute maker.

    With my new LLD® Weiss 13c Baroque lute I was surprised that the sound of it was even stronger, although I have tuned it to 392 Hz with the original Savarez strings, which means that the tension is quite low. My duo partner, who plays a modern wooden flute, remarked, that he doesn’t feel having to play as soft as before. Even beside a Viola da Gamba it was good to hear.

    But the best thing is the very delicate and well balanced sound. It has singing trebles and also a beautiful depth in the deeper registers. It has a very good response and therefore can be played easily.

    So the Weiss Baroque lute of Le Luth Doré surpasses my expectations quite far. It is an excellent lute for a more than reasonable price.

  4. A concert-level instrument at a great price

    by Rob MacKillop on 01 Thu,2017

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    The first thing to say is that this is a beautiful - and beautiful sounding - baroque lute. Le Luth Doré has managed to produce a concert-level instrument at what for many will be a reachable price.

    The craftsmanship cannot be faulted - excellent woods, masterfully worked - and the sound is big and warm, with the clarity required for the music of its namesake.

    Practicalities:

    The string band (distance between outer strings at the bridge) is 140mm, the same as the Andreas Jauck, currently in the museum at Yale, and only 2mm shorter than the great lutes of Schelle (1744/48, Nürnberg) and J. C. Hoffmann (1730, Brussels). My previous professional 13c lute had a string band over 10mm longer, but that was too long, making playing on the 13th and 1st courses simultaneously almost an impossibility. The LLD “Weiss Lute” felt narrow to me at first, but within a couple of days I was very happy with it. Guitar players coming to the baroque lute for the first time will find it very comfortable.

    The soundboard has a very light varnish, just enough to warm up the white (good-quality) spruce, and provide some protection. I’ll confess, I had to have this pointed out to me, as I never noticed - the top just looks normal. The rose is laser cut, and is therefore flawless. Both these measures will have contributed to cutting construction time, reflected in the price, while in no degree at all affecting the quality of the lute.

    The string length of 69cms is comfortable, and somewhere between French 11c lutes and some larger German lutes. I can imagine most people would be happy with this string length, especially those trying a baroque lute for the first time.

    The strings are currently by Savarez, with rectified carbon trebles and bass octaves, and copper-wound bass fundamentals. These strings help provide a big, projecting sound. I imagine most guitar players would be happy with this, though some seasoned lute players might want to experiment with alternatives - it is ever thus!

    I found the pegs to be very easy to use, which is not always the case, even on expensive lutes, though I used peg paste on the four strings on the bass rider.

    So, who is this lute aimed at? Well, I for one would not hesitate to use it in a professional setting. Professionals fearful of taking their expensive lute on an airplane, would feel no drop in quality by having one of these as a second lute. Students at music institutions, and young professionals, are often required to play many lutes from different periods, so the price of this quality instrument will help enormously - and I imagine continuo instruments are in the pipeline. Beginners can rest assured that they will be starting their lute life on an instrument that will last for decades - I have already recommended it to one of my Skype students.

    Le Luth Doré is bringing new players to our instrument, and many of them will in time commission instruments from more local luthiers. But their first encounter with a lute will be a positive one, allowing them to concentrate on developing musicianship and technique without the instrument getting “in the way”. I suffered from quite a few of those in the past!

    Congratulations to Miguel and the staff at Le Luth Doré for producing such a good instrument. I’m very impressed with it.

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