L'avantage - et sans doute le but premier - du frettage en éventail dans la 8 cordes modèle Rubio, c'est que sur la 1ère corde, on tombe à un diapason à 61, une case de moins, c'est toujours ça de gagné pour la tension... Mais ça reste limite quand même. Apparement les anglo-saxons (les élèves/émules de Galbraith) ont le même problème, je copie-colle quelques extraits d'un forum US :
"...Do you have a better A string now, or do you still have to do with a light tension E stretched up a 4th? When Galbraith played the top string it was always too bright for me--in that it rarely blended well with the other strings. Hearing Galbraith live was also slightly unsatisfying in that the low strings didn't project as much as the CDs make them out to be. This isn't the player I'm talking about but the luthier. I'm not convinced he has actually found a solution to make the most acoustical sense of the added strings....Galbraith's Rubio's are fantastic instruments! BUT, I have heard your same comments many times from people, and they are completely right.The first is more tense and therefore louder, brighter, my luthier worked specifically on it and the blending is much much better now, but not perfect, but more from the luthier, is a problem of strings, I use Agustine Imperial E, now, it is much warmer than the EJ43, I had custom made strings and they never worked, too light, broken, too bright some. Like I read from Sergio Assad, a lot of the problem with guitars boil down to strings, we still don't have good enough strings, even the guitars hav developed a great deal the last 200 years....for the treble a', and the string problem is that one, but not so much, I just ordered a knobloch lute rectified PVF string 0.61 gauge that feels so much better! and the transition is great...."
La conclusion provisoire : essayer un peu tout, jusqu'à ce qu'on arrive à une transition ressentie correcte, et faire avec jusqu'à l'invention de nouveaux matériaux... Skblz