Thomastik Bel Canto Strings

[Calvin Marks]

Originally Posted by Joel Larsson

My problem, dear Anselm, is that the Bels are a little bit more forgiving than plain gut. I'm not good enough for those yet! And then there is that solo playing problem again...

Richard, I don't like playing everything near the bridge either. Rabbath does have one nifty bowing technique. He can open up his instrument like few other. Do you have his DVDs?
(He has gold spun strings from Sonore. Probably cost at least $2,000, no kidding.)
Myself, I don't have anywhere near his control over my instrument, in any department (and I don't have that kind of money either - I mean, come on, if I had gold strings I'd sound good too!!) so I'll just stick to whatever will make me sound better in the long run. Hopefuly.
Saw him (Rabbath) a few weeks ago down in Germany, and despite being 78 years old, he plays like crazy! One remarkable man and musician, that one.

On his DVD he says he never uses solo strings because "it makes things easier", yet the Corelli mediums are basically a solo string in gauge and tension. The new Sonores he uses are solo strings tuned down to orchestral pitch...

[Joel Larsson]

I suppose he means that he never plays in solo TUNING. As for his Sonores, I was there when he got a new set of gold-wounds from Arnold Genssler in March. These are custom made for his needs and even if you could theoretically tune them up one note, I strongly doubt that they were produced with the aim to be tuned up. Genssler works very hard to reduce tension, and with the thin gauge I suspect that Rababth uses, solo player as he is, I suppose that means that the specifications may make it seem like a tuned down solo set.

[Calvin Marks]

Originally Posted by Joel Larsson

I suppose he means that he never plays in solo TUNING. As for his Sonores, I was there when he got a new set of gold-wounds from Arnold Genssler in March. These are custom made for his needs and even if you could theoretically tune them up one note, I strongly doubt that they were produced with the aim to be tuned up. Genssler works very hard to reduce tension, and with the thin gauge I suspect that Rababth uses, solo player as he is, I suppose that means that the specifications may make it seem like a tuned down solo set.

I hear ya. I actually asked Gennsler (sp!?) via e-mail about those strings and he mentioned a few "big name" players that use them. He specifically said that Francois' strings are his solo model used at orchestral pitch.

[Joel Larsson]

Ah. Makes total sense, then.
Yes, Genssler's strings are 'the thing', it seems. Makes me look for a cheap and easy way to get to Berlin...

Anyways, on the topic, I've been wondering about the Bel G. It seems to have a bit rougher structure than the other strings, and has worn more on the fingerboard. It sounds great and all, but has anyone else noticed anything like this, or have I played a defect string all this time??