Recent Audition Winners and String Choice

[SUNBA]

Who else is interested in recent audition winners and their string choices.Let's compile a list like the audition winners list that KPO has done.
Off the top of my head the most recent winners are
Ali ,Ira,Paul Denola,Satoshi,Scott dixon,Mark Huang,Kingsley Wood,and .....................

[PaulCannon]

Lots of people use different things. I think it's a mistake to focus on something like strings (or rosin, gear, setup, etc.) when trying to find out what somebody did to win a job or become a great player. I can see the appeal, since it's way easier to change your strings than the way you play the instrument. But the fact that Hal Robinson uses flexocores isn't particularly useful or even interesting. They are a string that he likes and is comfortable with, but that doesn't mean they'll be that for you.

Rather than obsess over the little things, why not ask what Ali Yazdanfar and Scott Dixon do to prepare for auditions. How do they practice? Something like string choice is certainly worth talking about, but it's ultimately a personal choice. Most high quality strings are about as playable as the rest, so why not just find a string that sounds the way you want them to? Playing on Corelli's won't make you play like Rabbath, but perhaps using his work ethic will.

[SUNBA]

Paul,100% agree with you regarding the fact that at the end of the day it all comes down to how hard and how effective you work and ultimately it all comes down to the quality of the musician within you that makes all the difference.
BUT,it is still interesting to see what the trend is.Like when gut gave away to steel (fatter diameter gave away to thinner strings).Also lately there has been a trend for brighter,faster strings.That's face it,the old eudoxas(now called orig. flatchrome) and the orig. flex(really NOT orig.) pretty much dominated most plyers.Then enters thinners gauge strings(yes theay are "easier to play) helicores,permanents,even the new bel canto ,in all cases the ability to achieve a very fat tone(especially the A string) is out the windows .And yes corellis are great for acrobatic solo work,but in a hardcore orchestral setting it is a joke!I can't imaging playing strauss,stravinsky,or better MAHLER(1st page of mahler 2).That to me is the ultimate test,getting to the end of that piece when the entire section plays the C mayjor scale pattern CDEFG-B(Ok enough,i'm pumped up just typing it out)

[Charlie Nilles]

I thought that this was a joke thread at first. Dude, who cares about strings.

[tbassist4]

I agree with the previous posts, but being the fact that this is the strings forum, it would be an interesting bit of information to know what strings players use. Jazz bass players study jazz bassists; what basses they use, what setup, what strings, and what gear to know in part how these bassists achieve "their sound." Should not orchestral players do the same so they can see why certain sections or soloists have the type of tone and sound they do? Strings are only one factor, and yes, most of one's sound is based upon playing and ability, but the bass and strings are huge factors in sound. Otherwise, thousands of dollars would not be spend on expensive antique basses, and hundreds would not be spent on premium strings.

Strings do matter, or else people would be playing on the sets you get with a bass on ebay...I shudder at the thought...haha

This thread will be more informative than anything else. No a change of strings will not affect your whole sound, but it will make a difference.

[Reuben]

SUNBA,

If you found out that a recent audition winner used all Jargar D strings on a 1950's Kay bass would it make any difference in your appreciation of their perfomance on Mahler's 2nd if they played well and had a good sound?

R