The tuning pins of Folc harps are set as close to the bottom
edge of the neck as is practical for the strength of the wood.
It's possible to do this because the design of the harps do not
incorporate bridge pins and do not intend to accommodate
sharping levers. One reason is for the string to clear the wood
as quickly as possible for the best sound and also to give the
maximum room for the player's hands.
edge of the neck as is practical for the strength of the wood.
It's possible to do this because the design of the harps do not
incorporate bridge pins and do not intend to accommodate
sharping levers. One reason is for the string to clear the wood
as quickly as possible for the best sound and also to give the
maximum room for the player's hands.
Another reason is to minimize the torque on the neck/pillar joint.
Most folk harps have some sort of metal plate or wooden block
attached at neck/pillar joint on the side opposite the strings.
Sometimes it is rather artlessly scabbed onto the joint. The sum
tension of the strings of a harp tries to twist the neck out of
place and the plate or block glued or screwed opposite the
strings counteracts the force of this torque. Folc harps do not
need this often undecorous reinforcement partly because of a
deep tenon joint but mainly because the torque to the joint has
been greatly minimized.
Most folk harps have some sort of metal plate or wooden block
attached at neck/pillar joint on the side opposite the strings.
Sometimes it is rather artlessly scabbed onto the joint. The sum
tension of the strings of a harp tries to twist the neck out of
place and the plate or block glued or screwed opposite the
strings counteracts the force of this torque. Folc harps do not
need this often undecorous reinforcement partly because of a
deep tenon joint but mainly because the torque to the joint has
been greatly minimized.
Here is an experiment to show why this is so. A nail is put close to the edge in a block of wood and a string is tied to it. A
strip of wood is clamped to the bench so that as the string is pulled, it will tip up the block of wood. This is the same thing
that is happening to the neck of a harp as the strings are brought up to tension. If you do this experiment, you will notice
that it takes very little force on the string to lift the block of wood. Small wonder. The width of the block is acting as a lever
arm multiplying the force you are exerting on the string. This point of force is at the tuning pin and not at the bridge pin nor
sharping lever since the string is fixed to the tuning pin but slips around the bridge pin and lever.
strip of wood is clamped to the bench so that as the string is pulled, it will tip up the block of wood. This is the same thing
that is happening to the neck of a harp as the strings are brought up to tension. If you do this experiment, you will notice
that it takes very little force on the string to lift the block of wood. Small wonder. The width of the block is acting as a lever
arm multiplying the force you are exerting on the string. This point of force is at the tuning pin and not at the bridge pin nor
sharping lever since the string is fixed to the tuning pin but slips around the bridge pin and lever.
Now turn the block around as shown above and try raising the block by pulling the string. You can do it, but it takes a very great
deal more force to move the block than it did previously. The very same thing happens on a harp. The farther away from the
bottom edge of the neck the pins are placed, the more mechanical advantage the tension of the string has to twist the neck out of
place. Pins placed at the very bottom edge of the neck exert very little torque on the neck/pillar joint.
deal more force to move the block than it did previously. The very same thing happens on a harp. The farther away from the
bottom edge of the neck the pins are placed, the more mechanical advantage the tension of the string has to twist the neck out of
place. Pins placed at the very bottom edge of the neck exert very little torque on the neck/pillar joint.
One reason for placing the tuning pins higher up on the neck away from the bottom edge is vary the length of the strings without
having to have an inconvenient tight curve in the neck. Notice how many folk harps have the tuning pins for the treble strings close
to the bottom edge of the neck but tuning pins for the bass strings nearly at the top of the neck. This isn't necessary in Folc harps
since they have a curved soundboard. Another reason to place the tuning pins high on the neck is to have enough wood to install
bridge pins and sharping levers neither of which are a consideration for Folc harps.
having to have an inconvenient tight curve in the neck. Notice how many folk harps have the tuning pins for the treble strings close
to the bottom edge of the neck but tuning pins for the bass strings nearly at the top of the neck. This isn't necessary in Folc harps
since they have a curved soundboard. Another reason to place the tuning pins high on the neck is to have enough wood to install
bridge pins and sharping levers neither of which are a consideration for Folc harps.
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