Pirastro sent me a set to test yesterday, put a set on last night. For my bass they are nice and dark, and a decent response once they got enough rosin on them. Also a very loud string with good punch, I do also like how well they reflect accents (both left and right hand). Compared to the Bel Cantos and Orig Flexs they are much thicker. Going to try them out in the real world here soon and hopefully they will be a string I am very happy with.
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Double Bass Evah Pirazzi strings megathread part I
- Thread starter Francois Blais
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The Permanent is pretty nice too, although I usually found them to lose quite a bit of fundemental after about 6 or 7 months when I was playing a lot.
The Jazzers last figuratively forever. I'm not sure they are better than Spirocores, but it's a very good string. I suspect they bow a little better than Spiro Mettiels.
I have a long Spiro E with the EPs, and it mixes in well. You've got to use the EP A string, though; it's hands-down the best single bass string out there IMO (with the Dominant A coming in a close second). I know that's kind of a weird thing to say, but when I play on the EP or Dominant A I just think "ah, that's what a bass is supposed to feel like."
On a different note, I'm sorry to hear about Monki's string breaking; maybe these synthetics are like every other synthetic, in that they will break right away if the normal playing-surface part of the string makes it up to where it's wrapping around the tuning peg. That'll break a Dominant in about eight seconds.
If it helps anyone. . . .
I've been playing with this EP 'G' string for over a week. Did my first serious gig on them last night. 4hr, piano trio, amplified w/ FC pickup. I have to say that it really performed great. This was a nice room that like playing in--nice acoustic sound. The EP was exceptionally loud. After, like, 2 sets it seemed to me to be a 'tense' string, that is to say a little tighter than the rest of my Spiro Mittel set. It spoke quickly, i.e. there was no need to really 'dig in' (like w/ Spiros) to get that note. The fundamental was all there. I didn't change a thing on my amp--except maybe to turn it down. I'm still getting used to the string, and it's still loosening up a bit, but wow. The main thing I noticed was during arco solos. I was so accustomed to really having to 'dig in' with the bow on Spiros during bowed solos. I started to dig in and it was WAY too much. The level of finesse with the bow on these strings is unreal. Now, I had been practicing with the bow ALOT on these strings, but the gig situation really taught me alot about how I was used to approaching Spiros. Alot less overtones. I'm actually considering now doing EP G and D and Spiro Mittel E and A. The G kicks ass, it's just a tad unbalanced (mostly feel-wise, but sound-wise, too) with this Spiro D.
I also agree with a previous post: first gig on it and my hands were TIRED at the end of the night. Can't wait for the next one, though.
I've been playing with this EP 'G' string for over a week. Did my first serious gig on them last night. 4hr, piano trio, amplified w/ FC pickup. I have to say that it really performed great. This was a nice room that like playing in--nice acoustic sound. The EP was exceptionally loud. After, like, 2 sets it seemed to me to be a 'tense' string, that is to say a little tighter than the rest of my Spiro Mittel set. It spoke quickly, i.e. there was no need to really 'dig in' (like w/ Spiros) to get that note. The fundamental was all there. I didn't change a thing on my amp--except maybe to turn it down. I'm still getting used to the string, and it's still loosening up a bit, but wow. The main thing I noticed was during arco solos. I was so accustomed to really having to 'dig in' with the bow on Spiros during bowed solos. I started to dig in and it was WAY too much. The level of finesse with the bow on these strings is unreal. Now, I had been practicing with the bow ALOT on these strings, but the gig situation really taught me alot about how I was used to approaching Spiros. Alot less overtones. I'm actually considering now doing EP G and D and Spiro Mittel E and A. The G kicks ass, it's just a tad unbalanced (mostly feel-wise, but sound-wise, too) with this Spiro D.
I also agree with a previous post: first gig on it and my hands were TIRED at the end of the night. Can't wait for the next one, though.
FWIW...
I am still loving the EP's. I changed out the G for my Oliv and it just works and feels better on my bass. Might have somthing to do with the fact that my bass has had low tension strings on it for the past 5+ years. The Oliv G works very well with the set and does not make the EP's feel strange at all. I agree with people's comments on the D and A being fantastic. The E I found is great as well but you pull it a little more than the rest. Then it matches up better IMO. Arco is great. I too find myself parcticing etudes scales more and more as it is fun to get that warm and even sound. Arco transition w/the oliv is fantastic. Again this could be my bass talking (and my hands as well) but the Oliv G work very well with the EP's.
Kevin, your bass would like these strings! How's NY?
I am still loving the EP's. I changed out the G for my Oliv and it just works and feels better on my bass. Might have somthing to do with the fact that my bass has had low tension strings on it for the past 5+ years. The Oliv G works very well with the set and does not make the EP's feel strange at all. I agree with people's comments on the D and A being fantastic. The E I found is great as well but you pull it a little more than the rest. Then it matches up better IMO. Arco is great. I too find myself parcticing etudes scales more and more as it is fun to get that warm and even sound. Arco transition w/the oliv is fantastic. Again this could be my bass talking (and my hands as well) but the Oliv G work very well with the EP's.
Kevin, your bass would like these strings! How's NY?
It was their first (reported) case of breaking Pirazzis. They didn't say anything about that the steel winding was not suposed to go over the peg though..I don't know how you would avoid it... every Pirastro G I've ever installed on my bass has had the wrap on the peg.... Olivs, Oblis, and now Evah Pirazzis.
Sure digging these strings, man.... guess I said that already....
Sure digging these strings, man.... guess I said that already....
Yeah, the E and the D to a lesser degree. The A clears the peg entirely.
To clarify, I've never had any Pirastro break up in the pegbox... didn't mean to give that impression. The only one I've ever had break was a very well-used Oliv G that broke down past the bridge. I've never even had the wrap come loose like some other Pirastro users have reported.
To clarify, I've never had any Pirastro break up in the pegbox... didn't mean to give that impression. The only one I've ever had break was a very well-used Oliv G that broke down past the bridge. I've never even had the wrap come loose like some other Pirastro users have reported.
That's good to hear. Both my E & G are totally metal over the peg, and the A is right at the end of the wrap. My D is totally wrap over the peg.
I have never broken a Pirastro string, either. Several Thomastics and Helicores, though; once in the middle of a recording.
I have never broken a Pirastro string, either. Several Thomastics and Helicores, though; once in the middle of a recording.
That's surprising.... pretty unusual!
OT... I'd like to come check you out sometime... my brother lives in Courtenay. Hope to get back there for some family stuff at some point.
I've just been playing on these strings this morning, and though I haven't done a before-and-after sound spectrum analysis, it seems to me that they have been gradually getting brighter sounding (in a good way). It could be that my ear is getting used to the darker sound. Probably that's it. But I wonder if anyone else has had this experience.
On another note, I just have to say that it seems to me that these are really the 'good old days' for bass strings. I have been playing for nearly 30 years, and whatever strings you may love or hate, there have never been more choices. I guess for some that may be a curse. The point is, every one has a different idea of what they want in a string, and the spectrum of what is available has expanded enormously. I think that's a good thing.
On another note, I just have to say that it seems to me that these are really the 'good old days' for bass strings. I have been playing for nearly 30 years, and whatever strings you may love or hate, there have never been more choices. I guess for some that may be a curse. The point is, every one has a different idea of what they want in a string, and the spectrum of what is available has expanded enormously. I think that's a good thing.
I'm going to put mine on tomorrow.
Two questions about not winding the metal part around the pegs.
1) Assuming that we're dealing with basses with fairly standard 3/4 mensure, which is the case with me, how do you avoid this? Is it a matter of starting the winding process earlier, without running too much string through the hole before you start winding? Or trimming so that less string gets wrapped? It seems from a very simple physics standpoint, the more you wrap, the more of the string it will consume before you get to the metal, but you guys tell me. Other tricks I should know?
2) If this is such a commonly understood problem with synthetic core strings, why don't they put more silk on the peghead end? Duh.
Two questions about not winding the metal part around the pegs.
1) Assuming that we're dealing with basses with fairly standard 3/4 mensure, which is the case with me, how do you avoid this? Is it a matter of starting the winding process earlier, without running too much string through the hole before you start winding? Or trimming so that less string gets wrapped? It seems from a very simple physics standpoint, the more you wrap, the more of the string it will consume before you get to the metal, but you guys tell me. Other tricks I should know?
2) If this is such a commonly understood problem with synthetic core strings, why don't they put more silk on the peghead end? Duh.
Jake deVilliers
Commercial User
- May 24, 2006
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Most basses have pretty similar mensures but the length of the pegbox and the afterlength can vary wildly.
If you've got a 41 1/2" stringlength and a 7" afterlength the silks will be in a different place than if you've got 5" or 9" of afterlength.
I'm remembering the super long afterlength that 1st Bass had when he installed a stock 13" tailpiece on his bass with the loooong lower bout.
Its a setup issue really but you could maybe fake it by tying a knot/adding a spacer in the string at the tailpiece end to keep the windings off the roller.
If you've got a 41 1/2" stringlength and a 7" afterlength the silks will be in a different place than if you've got 5" or 9" of afterlength.
I'm remembering the super long afterlength that 1st Bass had when he installed a stock 13" tailpiece on his bass with the loooong lower bout.
Its a setup issue really but you could maybe fake it by tying a knot/adding a spacer in the string at the tailpiece end to keep the windings off the roller.
Possibly.... can't tell whether it's my ears or the strings... maybe a little of both.
- May 6, 2003
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More like Oliv than plain gut, IMHO.... bearing in mind that I have no experience with plain guts of the quality that you're accustomed to.
I'd think they would be nice with good plain guts. Big dark fundamental, nice focus. The tension is more apparent to me in the G string than in the others, so I doubt that it would be a big adjustment.
I'd think they would be nice with good plain guts. Big dark fundamental, nice focus. The tension is more apparent to me in the G string than in the others, so I doubt that it would be a big adjustment.
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