New orchestral strings from Pirastro & Daddario

[Dave Whitla]

Following on from that, does actual tension (as measured on scale in lbs or kg) translate directly to the string feeling tight or loose, or is that feeling more abstract, like the relationship between balance and weight of bows?

[Ken Smith]

Originally Posted by Dave Whitla

Following on from that, does actual tension (as measured on scale in lbs or kg) translate directly to the string feeling tight or loose, or is that feeling more abstract, like the relationship between balance and weight of bows?

I have played several basses with the same strings on them. They all feel different. So, I think the bass has more to do with the tension than the string specs in that regard.

Tailpiece angle, after length, string length, bridge height, nut height, fingerboard camber, neck strength, etc., all have something to do with the tension of your bass. I never go by numbers published on string tension other than maybe one compared to another. Once on a bass, then you can see how it feels. Belcantos on my Marconcini feel different than on my Bollbach Lion or Halle Tarr or any other bass. Same strings, different basses, different tensions!

[Scott Pope]

Ken, what are the different mensures on these basses? Even 1/2 inch difference in mensure will have a noticable effect on the tension, as tension varies not directly, but as the square of the scale length.

And as you say, the setup on everything from the nut to the endpin and everything in between, including camber, can make a string feel different.

[Ken Smith]

Originally Posted by Scott Pope

Ken, what are the different mensures on these basses? Even 1/2 inch difference in mensure will have a noticable effect on the tension, as tension varies not directly, but as the square of the scale length.

And as you say, the setup on everything from the nut to the endpin and everything in between, including camber, can make a string feel different.

41-42" on average but it is not just the length as I can have a 41 tight and a 41 looser. It is all things combined.

[Ken Smith]

I just put a new set of the new Deluxe's on my Panormo school bass. I had one of the proto-type sets before that I tried on both my Hart and Mougenot basses. I liked them on the Mougenot as soon as they went on but not on the Hart. After a few months, I switched them back over to the Hart and 'then' I liked them on better after some play-in time.

A short time ago I emailed Pirastro to see if there were any design changes between the prototype sets and the current sets now packaged for sale. They said yes, some slight changes. So I ordered a brand new set but when they came in, I didn't have a bass that needed the strings changed so they just sat in stock for a few months.

My Panormo school bass had Original Flatchromes that were over 3 years old and a Flex-Stark E/C which was put on a few months later when the extension was made. They were to my ear, not 100% of what they once were so in looking for a set to put on from the few types I have in stock, I pulled these out and put them on.

My first impression was they were slightly smoother than the 3+ year old OFCs, clear and full sounding. They are not overly thick or muddy sounding which could be a problem on a bass this size if the string promotes more of the low end of the spectrum. They bow easily of course, similar to the OFC's and Flexocors which is quite typical for Pirastro strings. In a day, week or month from now, I expect them to break in and settle little by little. Right now, they are quite lively and on a big bass that has a super sweet high register, if you can reach up there!

[Ken Smith]

That Flex proto set I was on the fence about? On and off the Hart, then Mougenot and then back on the Hart? Remember my comments here about that?

Well then, we did something..

Unrelated (partially) to strings, I sent the Hart in to Arnold for a 5-year check-up on the restoration break-in. A lot of new wood in there. The Back has a new center and lower brace, the upper-mid left out and only studded on the angle-break. New half-edging all around and 3 different breast patches. One at each end of the bar and one under the post. so.. I asked Arnold to take off the Top and examine the repair wood and see if anything is making the bass overly stiff. The Flex Deluxe's were smooth one one bass and stiff on the Hart so after some nearly out-patient surgery (some of the repair wood trimmed), the Top back on and re-strung with the same strings, a 4th time going on a bass, 3rd time on the Hart, the bass is like half new again. Not new in sound, just improved as if it's a different bass. Twice the power on the bottom as before and the upper notes, as smooth as they were before the first restoration. These strings NOW sound and feel great on this bass as opposed to before.

I attribute this to two possible things. The bass is improved and the strings are broken in combined but, they were broken in the 2nd time they went on and the bass sounded like itself, so it's beyond the break-in theory.

If a bass is tight within itself, a tight string will not help it. It will only amplify that situation. Like putting dark strings on a dark bass. In many cases between a bass and its chosen string, opposites attract.

The Hart is a dark smooth bass. Just not overly powerful, before! Now, it's a cannon and the Flex Deluxe set seems perfectly at home with it. I will play these strings till they 'go'. Then I will put a new set of them on that I already tried on the Panormo. I took them off after a brief trial and will have them available for the Hart when needed. These strings can make your day!

[Arnold Schnitzer]

I'm happy to report that the re-formulated Pirastro Passiones are a winner. When I recently strung up my #30 bass, I tried several different sets of strings; old and new BelCantos, Flexacore Originals and Deluxe, then the Passiones. These strings have the same ease of bowing as the BelCantos, but have a wider dynamic range and a bit less tension. I sometimes buck the trend at competitions, as it has become the norm to string up with BelCantos. Yesterday I learned that my #30 bass had won a Silver medal for Tone at the Violin Society of America maker's competition (the highest tone award) with the Passiones, so I will continue to buck when warranted. Thanks to my friend and colleague, Jay VandeKopple, for suggesting these strings for this bass.