Sonore strings

I simply wanted to share my experience with Genssler's Sonores TWINE strings. I find the tone of your comments and questions distasteful. As far as I know Rabbath has never expressed that opinion about tuning solo strings down, and he currently uses the Sonores RABBATH model strings. I have spent lots of personal time over several years studying with François and researching his life and work. I've never heard him say that about tuning solo strings down. On the other hand, his lack of enthusiasm for solo tuning in general is well known. You may be thinking of that.

Originally Posted by Calvin Marks

? "Misguided personal attacks" ? What are you talking about???

I remember very little about these strings. I spoke with the maker about 3 years ago, perhaps then he was still with VELVET I do not know. Here's the e-mail he sent me several years ago. On an interview between Jason Heath and Francois Rabbath he gave his opinion on solo strings which I stated before.


"Dear Calvin,

Joel uses the RED LABEL, but in Fifth Tuning
My strings have an brillant clear sound but by no means the sound of any steel string.
Francois Rabbath uses the solo-version but in normal tuning for his solo playing and he is completly happy with them.
But I think for both application, solo and orchestra the original RED LABEL basso version is the best choice.
Best regards
Gerold"

[Calvin Marks]

Yes, and I think your next step would be to either delete your highly aggressive post towards me or issue an apology. I have nothing against Rabbath, he is a nice man and I've studied with him BRIEFLY, but in my personal taste I do not share his opinion towards what is the ideal sound for the double bass.

To each their own.

[Calvin Marks]

Glad that quieted you down. Now, shall we discuss these strings like civil minded adults?

[Pete George]

I've been running the Sonores "Drago Basso" (standard -- not solo -- orchestra strings) on my Arvi (four-string with a low C) for a couple of months, but I've only really been able to practice a lot on them for the past three weeks or so.

To preface, I'm a confessed string sl.ut -- I've tried almost all of the popular metal strings, though this is my first foray into guts for many, many years. (My first high school bass had strings made out of dinosaur gut, which was very cheap back then.) My "standard" setup on the Arvi is Permanents on C/E and A, and Flexocor '92s on D and G. I've tried a lot of other things, including most recently Evahs (beautifully big, round sound, but uncentered pitch on the lower strings), Bel Cantos (great to bow, but a sound that's not big enough or rich enough for me), and Compass 180s (C string breaks way too easily, strings otherwise interesting -- but weird).

As to the Sonores Drago Bassos, what can I say? I'm in love.

As noted earlier in this thread, the Sonores strings are shockingly thin to those of us who grew up on gut strings the thickness of your pinky. My Dragos are no thicker than standard Evahs, and probably thinner. And while they are expensive, I take some comfort from the 2-year guaranty. When they first arrived, I showed the strings to a bass luthier in the area who specializes in period instruments with gut strings, and he said the quality of the strings is superb.

From a playing standpoint, the strings speak very easily; the tone is rich, deep, clear, and complex; the volume is tremendous, especially on the two lowest strings; and they have a personality unlike any other string I've played -- "guttiness," I guess. I've been playing a lot of baroque sonatas on these -- and it's the most addictive experience I've ever had on the bass. Once I start, I can't stop. When I have to stop, I start playing again as soon as I can.

One specific point -- the vibrato that can be generated on these strings is amazing -- unlike anything possible on any other string I've tried.

To Ken's points, I can only say that there is no responsiveness difference between these strings and all of the metal strings I have tried -- except that the Dragos are MORE responsive than almost any metal string I've tried, with the possible exception of the Bel Cantos. In addition, the Drago strings hold pitch reliably all the way up the fingerboard. (Though if I made my living in thumb position, I'd try the solo version that Gerold offers.) The character of the tone IS different from metal orchestral strings, especially on the G string, but not so wildly different that I would contemplate a major problem fitting in with a section that is already using a variety of different strings. (I wouldn't audition on these because of that difference, but once I had orchestral "tenure" I don't think I'd be thrown out for using them.)

My teacher (the principal bassist with an ICSOM orchestra) played these for the first time yesterday and was amazed that any gut string could perform like mine. He comes from a jazz background and also thought the strings would be superb for jazz use (though Genssler makes other strings specifically tailored for jazz).

Bottom line: there isn't any string that's perfect for anyone, and these aren't either. I love playing them, though, and would recommend them subject to the observations above.

[Calvin Marks]

Originally Posted by Pete George

I've been running the Sonores "Drago Basso" (standard -- not solo -- orchestra strings) on my Arvi (four-string with a low C) for a couple of months, but I've only really been able to practice a lot on them for the past three weeks or so.

To preface, I'm a confessed string sl.ut -- I've tried almost all of the popular metal strings, though this is my first foray into guts for many, many years. (My first high school bass had strings made out of dinosaur gut, which was very cheap back then.) My "standard" setup on the Arvi is Permanents on C/E and A, and Flexocor '92s on D and G. I've tried a lot of other things, including most recently Evahs (beautifully big, round sound, but uncentered pitch on the lower strings), Bel Cantos (great to bow, but a sound that's not big enough or rich enough for me), and Compass 180s (C string breaks way too easily, strings otherwise interesting -- but weird).

As to the Sonores Drago Bassos, what can I say? I'm in love.

As noted earlier in this thread, the Sonores strings are shockingly thin to those of us who grew up on gut strings the thickness of your pinky. My Dragos are no thicker than standard Evahs, and probably thinner. And while they are expensive, I take some comfort from the 2-year guaranty. When they first arrived, I showed the strings to a bass luthier in the area who specializes in period instruments with gut strings, and he said the quality of the strings is superb.

From a playing standpoint, the strings speak very easily; the tone is rich, deep, clear, and complex; the volume is tremendous, especially on the two lowest strings; and they have a personality unlike any other string I've played -- "guttiness," I guess. I've been playing a lot of baroque sonatas on these -- and it's the most addictive experience I've ever had on the bass. Once I start, I can't stop. When I have to stop, I start playing again as soon as I can.

One specific point -- the vibrato that can be generated on these strings is amazing -- unlike anything possible on any other string I've tried.

To Ken's points, I can only say that there is no responsiveness difference between these strings and all of the metal strings I have tried -- except that the Dragos are MORE responsive than almost any metal string I've tried, with the possible exception of the Bel Cantos. In addition, the Drago strings hold pitch reliably all the way up the fingerboard. (Though if I made my living in thumb position, I'd try the solo version that Gerold offers.) The character of the tone IS different from metal orchestral strings, especially on the G string, but not so wildly different that I would contemplate a major problem fitting in with a section that is already using a variety of different strings. (I wouldn't audition on these because of that difference, but once I had orchestral "tenure" I don't think I'd be thrown out for using them.)

My teacher (the principal bassist with an ICSOM orchestra) played these for the first time yesterday and was amazed that any gut string could perform like mine. He comes from a jazz background and also thought the strings would be superb for jazz use (though Genssler makes other strings specifically tailored for jazz).

Bottom line: there isn't any string that's perfect for anyone, and these aren't either. I love playing them, though, and would recommend them subject to the observations above.

Pete, so these strings are gut-core wound in steel or metal? Did the bridge height need raising to get these to speak properly?

[Pete George]

Originally Posted by Calvin Marks

Pete, so these strings are gut-core wound in steel or metal? Did the bridge height need raising to get these to speak properly?

Right -- the winding material is a trade secret, but it's some kind of metal (Krell?), impeccably flat-wound.

I had my old Flexocor '92/Permanent rig set at about 5mm for the G, a bit higher on the C/E and A, and I didn't have to adjust height at all when I switched. These strings play great at metal-string heights.

[Pete George]

I liked these so much on my 4-string that I switched over on my five string as well. The new set has only been on a few days, but the set sounds great so far - even the low B. As with the four, these strings make me want to play and play and not put the bass down. They're very inviting. "User-friendly" doesn't start to describe the sensation.