Gut strings Rock!!

[Calvin Marks]

I should also mention that gut is way easier on the left hand as they're much lower in tension and softer so you don't have to press down as hard.

[Ken Smith]

Originally Posted by Charles Stark

I should also mention that gut is way easier on the left hand as they're much lower in tension and softer so you don't have to press down as hard.

Well I did play on Guts all thru High school but what do I know?

Aside from all this 'purity' talk, if you are trying to play bass professionally today for the most part, Gut's will not get you there. Even with a better bass, you need the best strings to match that your Bass actually likes.

Just my opinion ..

[Calvin Marks]

Originally Posted by Ken Smith

Well I did play on Guts all thru High school but what do I know?

Aside from all this 'purity' talk, if you are trying to play bass professionally today for the most part, Gut's will not get you there. Even with a better bass, you need the best strings to match that your Bass actually likes.

Just my opinion ..

Guts in a modern orchestra today? No, that will not work and would be silly to attempt. Though, there are many orchestral players that use wrapped guts like Olivs or Eudoxas...These don't sound anything like "real" gut but they have a really nice sound.

I do a lot of playing with baroque groups so I have several sets of oiled up sheep gut strings to put on...I also play with a lot of modern groups so I have a lot of metal strings...Different music, different context.

[Joel Larsson]

So what we REALLY need is two instruments! One for your regular gigs, and one that will make those hardcore baroque people call you up. You know, the ones sneering at anything newer than C.P.E. Bach, and at anything spun other than possibly the E string. Period music is becoming all the rage, it seems, and those baroque guys simply won't call you if you don't have the right gear. Then, it can be a really crappy bass, and sound sh1t when you play—at least you'll be playing on Gut, and they'll be satisfied. Maybe you can even purchase the cheapt 'baroque' bow you can find, and they'll be all fired up.
(Sometimes, I get the feeling that what these guys really do want to hear is a bit of rock'n'roll attitude, and they couldn't care less about the tonal quality. I kind of sympathize with that. )

Anyways, that's what it's like in Scandinavia. You go all-in, or you're not in. Of course, the orchestras still do classical symphonies and the occasional Baroque mass, and maybe the leader will try to impose some supposedly old style phrasing on the reluctant musicians brought up in the 20th century, maybe they'll even go as far as to change the E string of the violins to gut... but here we're talking project or freelance type ensembles specialized in period playing, and—as a freelancer—any gig is a gig you don't want to miss, so you better stand and deliver.

Edit: Oops, Calvin managed to sneak in a reply while I was writing, basically saying the same thing but with fewer words... I'l learn to express myself more concisely, and next it'll be me who posts first!!

[Calvin Marks]

Originally Posted by Joel Larsson

So what we REALLY need is two instruments! One for your regular gigs, and one that will make those hardcore baroque people call you up. You know, the ones sneering at anything newer than C.P.E. Bach, and at anything spun other than possibly the E string. Period music is becoming all the rage, it seems, and those baroque guys simply won't call you if you don't have the right gear. Then, it can be a really crappy bass, and sound sh1t when you play—at least you'll be playing on Gut, and they'll be satisfied. Maybe you can even purchase the cheapt 'baroque' bow you can find, and they'll be all fired up.
(Sometimes, I get the feeling that what these guys really do want to hear is a bit of rock'n'roll attitude, and they couldn't care less about the tonal quality. I kind of sympathize with that. )

Anyways, that's what it's like in Scandinavia. You go all-in, or you're not in. Of course, the orchestras still do classical symphonies and the occasional Baroque mass, and maybe the leader will try to impose some supposedly old style phrasing on the reluctant musicians brought up in the 20th century, maybe they'll even go as far as to change the E string of the violins to gut... but here we're talking project or freelance type ensembles specialized in period playing, and—as a freelancer—any gig is a gig you don't want to miss, so you better stand and deliver.

Edit: Oops, Calvin managed to sneak in a reply while I was writing, basically saying the same thing but with fewer words... I'l learn to express myself more concisely, and next it'll be me who posts first!!

Thanks Joel, and yes I agree with you as well. Once again, I've played a ton of different kinds of gut strings - from Aquila and Dlugolecki to Gamut and Pirastro and have used them from opera pit playing, chamber music to actual period music on period instruments.

Gut strings can make a "cheap" bass sound A LOT better...you don't need a 100k bass to sound great or get into an orchestra. If you practice and have talent then the instrument is second (the way it should be).

[Richard Prowse]

Originally Posted by Charles Stark

Gut strings can make a "cheap" bass sound A LOT better...you don't need a 100k bass to sound great or get into an orchestra. If you practice and have talent then the instrument is second (the way it should be).

Are you saying that gut strings will improve the sound of my plywood?

[Calvin Marks]

Originally Posted by Richard Prowse

Are you saying that gut strings will improve the sound of my plywood?

Once again, what kind of music are you trying to play?

Guts are for the orchestral register of the instrument, ie. how we make our money. Anything in TP requires steel.

[Nathan Parker]

I took a lesson from a local orchestral guy who gave me some insight into arco on the gut strings. He played my bass for a bit, including some of the Vivaldi stuff he has recorded. He made my gut strung bass sound like a million bucks.

Of course, right after he was done, he was telling me how much he didn't like 'em, and couldn't figure out why I insisted on using them.

[Mark Stefaniw]

Originally Posted by Charles Stark

[...]Guts are for the orchestral register of the instrument, ie. how we make our money. Anything in TP requires steel.

I might, but just barely, agree with you...in the "Duo Sweet 17" performance I cited in my previous post (above), the violone player does some really nice, and extensive, TP work.