Darkest G for pizz on LaScala ply

T-Bal · #1 10-09-2007, 11:06 AM

I'm afraid I'm going down the slope again... I'm thinking of setting up the LaScala for an Old-School pizz vibe (50's Sinatra records), and I want to start with the G string. It's got to go boom-boom-boom with no twang. I'm pretty sure that means gut, but I might like to try some dark steel first. Right now I have a Flex '92 G with Spiro E,A,D (some or all of which will go once I find the right G). The Flex G is still too metallic fo me (pizzed and bowed). I have also tried Obligato (too slow, diffuse) and Dominant (plasticky).

A nice bowed tone would be icing on the cake, so I am curious about BelCanto, Jargar Forte, or something similar, before I move to Gamut. Or should I even waste my time?

UncleToad, you have been there (see below) so your thoughts are welcome as are anyone else's who would be kind enough to respond.

Quote:

Originally Posted by Uncletoad

My favorite G strings on the Cleveland Ply so far.

Gamut Gut Heavy G
Gamut Gut Med G
Oliv G
Anima G
Dominant G
Belcanto G
Flexocor G

Haven't put a super flex on there. I prefer gut, gut core, or hybrid strings on the G. The all steel G strings get weak as you go up. The last two arco strings are the only exception so far.

If you don't feel comfortable with plain Gut (I understand if you don't) the Oliv is my favorite choice.

Ben Rolston · #2 10-09-2007, 11:10 AM

Oliv maybe?

larry · #3 10-09-2007, 11:16 AM

Oliv. Best G string ever. I have a LaScala too, BTW.

I have an Oliv G & D and I recently switched from Superflex on E & A to Sprio Orch. E & A. I was worried they would not match up so well, and really, I think it's a challenge for anything to match up to an Oliv - but it's working out great.

T-Bal · #4 10-09-2007, 11:30 AM

Yeah, I've got an Oliv with 18 mos of use on it (from my other bass) in the drawer . Windings still intact. Maybe I'll throw it on there for kicks.

EDIT: Would the plain gut Gamut be darker due to the lack of the steel wrap?

Don Higdon · #5 10-09-2007, 11:38 AM

T:
Remember this, also from Toad -
If you want to know how your bass really sounds, stand 20 feet away and listen to someone else playing it.

T-Bal · #6 10-09-2007, 11:52 AM

Quote:

Originally Posted by Don Higdon

T:
Remember this, also from Toad -
If you want to know how your bass really sounds, stand 20 feet away and listen to someone else playing it.

Good point. I guess the farther away, the less of the upper partials and the more fundamental you hear.

**Chris Fitzgerald** · #7 10-09-2007, 11:58 AM

Quote:

Originally Posted by T-Bal

Good point. I guess the farther away, the less of the upper partials and the more fundamental you hear.

Yes. I've found this to be true of speakers as well. Sometimes the ones that sound the most painfully abrasive up close are the ones that carry out into the room. It's an aggravating phenomenon to be sure!

T-Bal · #8 10-09-2007, 12:12 PM

Quote:

Originally Posted by Chris Fitzgerald

Yes. I've found this to be true of speakers as well. Sometimes the ones that sound the most painfully abrasive up close are the ones that carry out into the room. It's an aggravating phenomenon to be sure!

Very frustrating. When you are "in the moment" of making music, you react to what you hear. It's hard and impractical to put that out of your mind and imagine what it might sound like to someone 20 feet away. But I digress.

RShew · #9 10-09-2007, 12:33 PM

Hey Tom,

I am contsantly in the same dilemma. I always go back and forth between the strings you mentioned earlier only to end up with Oliv G and D again (I have used them for 6+ years) or Anima on the G and D. Splitting up Anima's has been quite a fruitful exploration. I got the idea from Larry Grenadier and Ben Street. The Anima G and D sound more gut like through an amp than the Oliv's do IMO. The Oliv's acoustically sound fantastic as you already know. I find they do get "mid-rangy" through the amp at loud volumes. This is through a Realist or Full Circle. The Anima G and D have given me the "boom, boom". I have been pairing both with Evah Pirazzi E and A. I also often leave the Evah D on as well and just swap out the G. The D has a more synthetic sound acoustically than through the amp IMO.

I also saw recently that Larry Roten is now carrying Garbo "Light". These may be worth a try. Hopefully arco is not a huge issue...

Not to plug an album but if you go to CD baby and search under "SPES" you will find a record I recently recorded with Evah's on E and A and Oliv's on G and D. It was through a mic only (no direct).

**Damon Rondeau** · #10 10-09-2007, 12:34 PM

Quote:

Originally Posted by Chris Fitzgerald

Yes. I've found this to be true of speakers as well. Sometimes the ones that sound the most painfully abrasive up close are the ones that carry out into the room. It's an aggravating phenomenon to be sure!

Painfully abrasive? Sounds like my arco tone.

T-Bal · #11 10-09-2007, 12:59 PM

Quote:

Originally Posted by RShew

Hey Tom,

I am contsantly in the same dilemma. I always go back and forth between the strings you mentioned earlier only to end up with Oliv G and D again (I have used them for 6+ years) or Anima on the G and D. Splitting up Anima's has been quite a fruitful exploration. I got the idea from Larry Grenadier and Ben Street. The Anima G and D sound more gut like through an amp than the Oliv's do IMO. The Oliv's acoustically sound fantastic as you already know. I find they do get "mid-rangy" through the amp at loud volumes. This is through a Realist or Full Circle. The Anima G and D have given me the "boom, boom". I have been pairing both with Evah Pirazzi E and A. I also often leave the Evah D on as well and just swap out the G. The D has a more synthetic sound acoustically than through the amp IMO.

I also saw recently that Larry Roten is now carrying Garbo "Light". These may be worth a try. Hopefully arco is not a huge issue...

Not to plug an album but if you go to CD baby and search under "SPES" you will find a record I recently recorded with Evah's on E and A and Oliv's on G and D. It was through a mic only (no direct).

Roger,
Thanks for chiming in. I have noticed the amped Oliv tone also. Grenadier and Street are two favs of mine.

Did you mean Lou Roten? I have always been reluctant to try Animas because of the windings, but I might have to. Do the Garbos have the same wrap? I'm also curious, can't remember if you ever had Gamuts to compare.

Thanks for the heads up on the CD, I'll check it out. I was listening to the Power of 3 recently - great music !

**Francois Blais** · #12 10-09-2007, 01:12 PM

The Jargar is of course quite dark.
Let me suggest an inexpensive experiment: the D'Addario Prelude (new student line) G is among the darkest G's I've ever tried!

T-Bal · #13 10-09-2007, 01:22 PM

Quote:

Originally Posted by francois

The Jargar is of course quite dark.
Let me suggest an inexpensive experiment: the D'Addario Prelude (new student line) G is among the darkest G's I've ever tried!

Interesting. What's the guage?

RShew · #14 10-09-2007, 02:29 PM

Quote:

Originally Posted by T-Bal

Roger,
Thanks for chiming in. I have noticed the amped Oliv tone also. Grenadier and Street are two favs of mine.

Did you mean Lou Roten? I have always been reluctant to try Animas because of the windings, but I might have to. Do the Garbos have the same wrap? I'm also curious, can't remember if you ever had Gamuts to compare.

Thanks for the heads up on the CD, I'll check it out. I was listening to the Power of 3 recently - great music !

I do mean Lou Roten. Sorry about that.

I don't have a problem with the Anima windings. I have never used a full set. Only the G and D. They are hard to play with a bow for a while but after some time (finger grease) they become no harder to get a good sound from than spiros IMO. I also contacted Rufus about rosin and that has helped a great deal as well. He pushed me towards Oak Rosin from gregorianstrings.com. This helps a lot. Still, if I have a lot of bow work, I swap out the G and or D with either Oliv's or Evah's. I had Garbo's on for a second but they are TOTALLY unbowable. The Garbo G string is covered in plastic, not metal. I wonder if the "Lights" have a different wrap on the G string.

I have always wanted to try high quality gut on G and D (Gamut's or DD's). I am curious about the differences in tension, guage, arco capabilities, etc on my bass. It is a really expensive experiment. Not sure the wife would get behind that one...

Thanks for the compliments on Power of 3. That was a long time ago and I never really liked my sound on that one. Music is good but the sound...That was Oliv's with to much direct! It was a great honor to work with Doug. He kicked my ass on a reg. basis. How's Royce doing?

**Francois Blais** · #15 10-09-2007, 05:51 PM

The Prelude gauge?
Similar to other steel strings.
Like the Helicores, the wrapping is nickel.

The Jargar gauge?
I suggest medium.

ctxbass · #16 10-09-2007, 07:44 PM

You probably are headed for at least an unwound gut G, but before you give up on the Flexocor G, you might try the hard rubber tone filter that comes with Flexocors. It looks like a washer and straddles the bridge under the string. It significantly reduces the metallic sound, and you still have a great string for arco.

A good gut G that has been forgotten of late is the Pirastro Chorda. I don't care much for the D though.

T-Bal · #17 10-09-2007, 10:57 PM

Quote:

Originally Posted by francois

The Prelude gauge?
Similar to other steel strings.
Like the Helicores, the wrapping is nickel.

The Jargar gauge?
I suggest medium.

Yes I was asking about the Prelude guage. I recall you posting about dead spots on the Jargars you tried. Is that your most recent experience with them?

T-Bal · #18 10-09-2007, 11:06 PM

Quote:

Originally Posted by ctxbass

... but before you give up on the Flexocor G, you might try the hard rubber tone filter that comes with Flexocors. It looks like a washer and straddles the bridge under the string. It significantly reduces the metallic sound, and you still have a great string for arco.

Why didn't I think of that? I've got one on the Spiro D of my other bass, and it does work.

Quote:

Originally Posted by ctxbass

A good gut G that has been forgotten of late is the Pirastro Chorda. I don't care much for the D though.

I'll keep that in mind, thanks!

**Francois Blais** · #19 10-10-2007, 08:15 AM

Quote:

Originally Posted by T-Bal

I recall you posting about dead spots on the Jargars you tried. Is that your most recent experience with them?

I had my fingerboard reshaped a few weeks ago so it may be different.
But I only have a Dolce G left, so that's not a good candidate, unfortunetely.

Phil Rowan · #20 10-10-2007, 08:37 AM

Quote:

Originally Posted by ctxbass

A good gut G that has been forgotten of late is the Pirastro Chorda. I don't care much for the D though.

If I were to go back to using gut, the Chorda would be my G without a doubt. And yes, I've tried their D, and it did nothing for me. For the D I used Efrano, and it worked fine.

Of course, one of my best sets was Chorda on E and A, along with what I wrote above. What a HUGE sound...but I always look back thinking, "how in the hell did I ever afford that??" ...oh yeah, it was while I was still in college!