Well after some string experimenting I can actually contribute something to this forum. The year long project of restoring our 1950 American Standard bass has finally culminated into a finished, playable bass that I really like thanks to some string experimenting. When the bass was mid-way completed we did a set up with Thomastik Dominant solo strings, which I like and have used before on a 43 string length. This string sounded good and played very easy on my 1935 King bass so I thought we would repeat the set up on the AS nope the bass did not like these strings and neither did my ear. This was not a true and fair test for this string as the bass had other issues that needed resolved, but one of the deterrents was the string winding would not go into the peg box the winding was sitting on the nut. This happened only on the E string and they were solo tuning regardless I did not like the sound of this strings on this bass. After the issues were repaired and the bass was 100% healthy we decided to try a full set of Velvet Garbos. I really like the feel of this string they are easy to install, easy to play and the A and E were very powerful and loud (pizz is all I play). These strings on this bass had great sustain but I was unhappy with the G and D tone. The bass had for a lack of a better word too much of a boing-boing tone mostly on the G string. So we decided to try gut strings on the G and D. I have a stash of vintage gut strings that are new old stock. I found a perfectly matched G and D Art Tone strings that still had the little gold sticker attached to them. I am not sure how old these strings are but they are vintage for sure! I oiled the strings and wiped them down good. They were a bit crunchy and dry but came around with some TLC. We installed them, tuned and played, tuned and played and tuned and played. I was amazed at how little difference there was between the Garbo G and D and the real gut G and D Garbos really do have a gut like sound. I was impressed to hear the closeness in the tone between the two different types of strings but this also meant my displeasure in the tone had not changed. We put the full set of Garbos back on the bass and went to a local jam. I allowed two other bass players (one called my bass pinky for the pinkish colored Garbo G strings I didnt like that too much) at the jam to play my bass while I stood back and listen to it. I like this bass a lot there is a whole bunch of effort put into this old beauty and I have very high expectations of how it should sound. This bass has volume and sustain no matter what string we put on it it just did not have the tone growl knock your socks off sound that I was expecting from it. We let the bass rest a few days and we continued to think about what the next step should be then it hit me Thomastik Spiro mittels. Now I am not a fan of a Spiro mittels on a vintage bass. Many times these old basses were not built for the higher tension of a medium string. On my vintage Kay basses I use the Spiro weichs and love the sound and feel but I never tried the mittels. We discussed this option and knowing this bass is 100% healthy and in tip top shape with a new ebony fingerboard and solid neck re-set (we had this bass apart and know every nook and cranny it is solid) we decided to try the mittels. We had a used set of the mittels from another bass and decided to try the used set before buying a new set. We install the strings late Monday night and as soon as we began to tune WOW there was THAT sound I need to hear from this bass. The tone is now big, punchy, a ton of sustain, great volume and the boing-boing has been replaced with growl I love it. I practiced scales last night and the bass is just a pleasure to play. It is now everything I wanted and expected to hear from a vintage American Standard. I must admit I now understand what string lust is I also understand that persistence and patience can be rewarded handsomely. You all preach the values of the Spiros and how you return to this string again and again I can now appreciate and understand that logic as well. This bass was first named Wendell by my husband. Mid-way through the restoration process it was re-named an S-O-B and rightfully so it tested his patience and fortitude. Now that the string experiment is completed it has yet another name The Teacher because this bass, as trying as it was at times, has taught both of us a lot about vintage plywood basses. Repairs, strings, tone, persistence it is all wrapped up in this bass. I am now eagerly looking forward to festival season and hearing it played outdoors in a jam session. I feel this bass can shake the leaves off the trees and make small animals cover their ears...cool.