#21
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I had to dig up this thread(since I have just joined partially), because this subject has been something I have really been on the fence about throughout my playing from almost the start. There is NOTHING like the sound of a bass with gut strings across the board, into a mic. I don't think you can get either the sound or more importantly the "feel" or same pulse with steel strings. The response is totally different. However, there is something to be said for the clean, sustaining, and lyrical quality of steel strings in the upper register for soloing. I don't know... sometimes I can tolerate playing with gut strings and no amp, but when the leader calls over for me to turn up, or we have a noisy crowd, it can be a drag.
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#22
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So, now I've played guts for a while and I love it! Feels like I'm home. The only problem right now is that I got a regular Chorda E on and it's damn thick... I like the sound of it (well the sound I can get...) but I have to practice more with it. I understand why your special Chorda is lighter in gauge, Carlos! Before I got the Chorda I had a Garbo E which blends great with the guts, but it's just not gut...
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#23
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Oh but come on, Andreas. You're just not man enough to play that thick E! People have played spun gut for many hundreds of years. It's nothing to be ashamed about. But don't put your Garbo back before I can come over and test drive your chorda.
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#24
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Don't you worry Joel! A thinner wound gut E is on its way! But I will keep the Chorda for a while. It's starting sound and feel pretty good.
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#25
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video from aquila gut string "factory"
here is a great video from the aquila string factory
http://www.youtube.com/watch?v=2_Cwe...e=channel_page very interesting: they talk about a small village in italy where many great stringmaker-families come from: d´addario, pirastro, savarez, la bella, galli etc. |
#26
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well..
I have since tried them and moved on (the Carlos set!). I played Gut in High School and should have left it at that. For the playing I do which these days is mostly Orchestral, I prefer steels like Flexocor or Belcantos, period!
As a matter of fact, I got this Hawkes Bass recently (Carlos knows the bass.. lol) and the first thing I did was take the Guts off and put on some Flexocors. So if Gut strings rock that's just fine. I don't play Rock! |
#27
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I agree that there is a special sound and feel of playing on real gut strings. I'm talking about plain gut BTW not wound gut like Eudoxa or Oliv. If you're playing jazz then I couldn't imagine playing on anything but gut but for orchestral playing plain gut just doesn't work.
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#28
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??
Quote:
Audibly, the Guts are too slow and they make you play harder to hear yourself. I see no need at all to play guts at all unless you are playing period music. Even then, any good old bass with bowing steels will sound just about as good in my opinion. I have played Vivaldi, Bach, Hayden and Mozart concerts mainly with one Bass and two Cellos (Chamber-like) and they loved my sound. Bowing Steels all the way with an old English or Italian bass. No one mentioned after first hearing me that I needed Gut, NO one! Is that Period enough or we need to go earlier? Maybe you Gut seekers just need an Older bass, you think? |
#29
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Hah! That's funny. And probably true I think. That's what I needed.
__________________
Salutations from the Land of Cows Phil Maneri Chief Cook and Bottle Washer Fifth Avenue Fret Shop Columbus, OH USA |
#30
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Well, in contrast to the latest consensus that has been formed, gut is where it's at for me.
Ken was generous enough to trade me his broken in set of Carlos Henriquez Pirastro Chorda strings for a broken in set of Spirocores. I don't know if I will ever go back. I've switched to the regular Chorda's now, but might go back to the C.H. diameters, as that regular Chorda E string is quite the monster. Great sound, but it ain't easy to play. The things I really enjoy about gut strings is the tone and the feel. The sound is so unique and it seems to be impossible to replicate. It is very warm and full to my ears, but it also has a blunt and un-complex quality that I like very much. It's almost as if the bass is more akin to a timpani than a violin or cello. And, the feel and tension are quite the delight. Pizzicato, there seems to be a larger palate of tonal color, which can be changed by variations in right hand position and pulling technique. Lastly, the lower tension allows me to raise the string height and still play without pain, which means more volume for me. I have taken to playing without an amp lately, so that is definitely a help. I know there are downsides to the gut strings, but for me and my needs, the pros outweigh the cons. Last edited by Nathan Parker; 01-20-2010 at 10:37 PM. Reason: spelling maybe. italian words are hard |
#31
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well,
I think in some styles and for some players they work best. I had a set of Labella gut in a bass a few years ago and they were fun for pizz on the bass I had them on but after one Orchestra rehearsal they came off. They just didn't blend well.
I like all things bass to be smooth. Gut to me under my ear just isn't! |
#32
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Is that just a gut feeling Ken?
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#33
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??
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#34
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Quote:
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#35
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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.
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#36
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ok..
Quote:
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#37
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Playing experience has nothing to do with age - wisdom does, and that is why I'm not wise yet! I speak zee truth!
I'm not suggesting we all try and replicate the same sound as Domenico Dragonetti, we can leave that up to John Feeney . But in all seriousness, gut strings do "rock", and they're definitely under appreciated. Unfortunately I think their high price is the biggest deterrent for most serious players. |
#38
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oh?
Quote:
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 .. |
#39
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Quote:
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. |
#40
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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!! |
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