On the topic of cello strings, part two
Cello Strings part two:
An excellent explanation of string tension from Thomastik-Infeld:
where gut strings come from:
String reviews online
As the string demonstrations I had seen online were quite poor (in my opinion), I couldn’t take too much from them. That was my motivation to develop something that was not some vague, meaningless description/review, or so poorly produced as to be useless. I mean, what is bright, or dark, or rich, mean? Such terms are too subjective, vague, and individual to have any real utility.
In an effort to address this, I settled on particular repertoire that would show the full range of each string, as well as repertoire that shows how the entire set sounds together, playing them as consistently as possible regarding tempo, dynamics, and interpretation (so as not to distract from or favor any string), and recording them with the most consistent possible placement of microphones and volume settings, with no sound processing whatsoever. Edit: I eventually changed the set up of the cello and moved my studio, so I ended this project, as I could no longer make such close comparisons. I did, however, make one more demo in the new location with the new setup and different mics because I thought that the latest Thomastk offering, Dominant Pro strings (which are probably the best-priced high quality strings available) should be heard.
Magnacore medium and Arioso:
Jargar Superior set and the Jargar Special A+D strings
Pirastro Perpetual line of strings:
Thomastik Versum, Versum Solo, and Rondo strings:
Thomastik-Infeld Dominant Pro:
Warchal Amber and Metal A and Prototype A strings:
Rostanvo points out that while there is a difference in the downforce on the instrument between having strings on it and not having strings on it, the difference in downforce between strings of different tensions is almost non-existent. Here are two articles that explain what this downforce really consists of.
Human perception: String Tension
Tension/Downforce in bowed stringed instruments:
Rostanvo’s excellent research is very interesting to me, and it is congruent with my own observations from the string demonstration project that I made some time ago. One thing I might mention here is that there is almost no difference in the gauge of a metal string when it is in its packaging and when it is on an instrument and tuned to pitch. I have not explored this phenomenon as relates to synthetic or gut core strings, however. Here is a chart I made that correlates string tensions and gauges from the strings I have worked on thus far:
A comparison of many strings:
When to change strings
There is no hard and fast rule as to when to change strings. I generally play on strings until things start to get weird, or are hard to tune (the overtones get funky making it difficult to hear), they don’t respond as they usually do (but this requires that you eliminate other issues like a big weather change, open seams, string height change, etc.), or that they get balky or squeaky. Lots of the modern high end strings will last a long time ( I’ve had Evah Pirazzis on for 2 years+ and Versums on for over a year that still sounded good). Others, like Larsens and Magnacore are reported not to last so long, though I personally have no experience of this.