Strings and things - varied vs single type
Hello all,
I've just put a set of Augustine Regals on my guitar (purple trebles and blue basses), and while I like how they seem to be smooth on the right-hand and I think quite a warm sound, I find I want just a little more projection on the higher notes on the 1st string.
What do you all think about using one type, i.e. all from the same package, and mixing up different kinds of strings? In the interview on tonebase with Sharon Isbin, she says she uses:
1 = New crystal, blue
2 = New crystal, red
3 = Alliance (carbon type)
4, 5, 6 = Cantiga
But, I don't remember her going into much detail on her reasons (or if she's sponsored...). If you do mix it up, why? If not, what strings do you like?
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From experimenting, I have settled on Savarez Cantiga 4,5,6, Galli Carbonio 3 and Augustine Red 1, 2. These suit my attack and seem to bring out the best in my instrument. The carbon 3 is because most G strings seem to not hold tune well and don't blend well. I love the Galli Carbonio in this regard. I am still, and likely always will be, experimenting.
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Hi all, I am using Savarez Carbonio and Knobloch. The mixed use of strings was because my (new!) Dominik Wurth guitar was intonated using the Savarez strings. For a while I thought something was wrong, as I was using all Knobloch strings, however, I learned that it was probably too stiff, thus causing really bad off tune notes past the 5th fret.
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Thanks for your replies, very interesting - congratulations on your new guitar Ken Abe !
Many parameters to consider: guitar, intonation, attack. Interesting Michael that you have a different lower treble string, rather than a different higher one like Isbin. I seem to remember hearing somewhere that Segovia used a high tension 1st string and the rest were different.
I just ordered a few different Savarez sets and was about to replace them because the basses sounded something analogous to singing with a sock in your mouth, but I thought that the trebles still sounded alright, so I just loosened the basses completely and retightened, and they seem to have some new life for the moment.
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Roni Glaser It is a pretty well known phenomena of the G string not blending well on nylon sets and using a carbon 3rd to compensate for that. There are also well know issues with the 1st being a little shrill or harsh. That may be very important to Sharon. If I knew of some that were more round and less harsh, I would likely experiment,
My experience with Savarez Cantiga has been very good. I once tried Corum and your description is apt. I recently am experimenting with high tension Cantiga basses because my P attack is fairly strong and I was buzzing out the normal tension ones. So far pretty well but then a price is paid with the left hand. A never ending quest....
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Michael Pagliaro Sorry, I meant the old strings, which are Cantiga too, sounded like they had a sock in their mouths.
My experience with Cantiga has been very good as well. I've occasionally noticed the blending difficulty on the nylon G, but I've often thought of it more to play a role of its own, mostly for the warm tones it has around the middle of the fingerboard, although it does end up having a bit too much of a plasticky sound lower down, and on the Augustine Regals I put on not long ago, the open G can be a bit on the ugly side.
But indeed, prices are always paid in every aspect of music, which one often finds in composition, you just have to decide what's most important.
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It's interesting to see that so many of you take a 'mix and match' approach to stringing your instrument. Perhaps it's just laziness, but I generally use complete sets, mostly Pro Arte from d'Addario. I like them in part because of their durability - they maintain their integrity (physical if not tonal) for quite a long time, an important consideration for someone who hates changing strings! (I do it as little as possible.) I might add that I'm an amateur who never performs in public, so quality of sound is not my greatest concern.
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