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Double Bass New! Pirastro Perpetual Double Bass strings

I think mine have been on for about year and in full disclosure, it wasn't my busiest year of playing. But, this week I started feeling like the D string, specifically has started going dead. It could be a humidity adjustment, I'll check the bass and see if anything moved, but it's not unreasonable to assume that perhaps I've started seeing optimal lifespan. I'll clean and adjust and if that doesn't address it, I'll probably try something from my string box, since it doesn't make a lot of sense to buy strings right now.
 
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I think mine have been on for about year and in full disclosure, it wasn't my busiest year of playing. But, this week I started feeling like the D string, specifically has started going dead. It could be a humidity adjustment, I'll check the bass and see if anything moved, but it's not unreasonable to assume that perhaps I've started seeing optimal lifespan. I'll clean and adjust and if that doesn't address it, I'll probably try something from my string box, since it doesn't make a lot of sense to buy strings right now.

I think we put our sets on around the same time if I remember correctly. June 13th is my 1 year mark so that makes these... just under 11 months old. You said at one point you change your Jazzer strings every yearish, maybe thats the lifespan of these.
 
I’ve changed out a lot of strings in the past 25 years and I’ve always loved that “oohhh, new sounds” feeling when you start in on the new set. Had that with Perps for sure......

..... but I have never had the crazy blazing muscle car high octane blast I just had in changing from perps back to spiro reds. I liked the perps ( especially when brand new) but man Reds are the bomb.
I have found that basses respond differently. I really didn’t like the Perps on my King Mortone, but I like them on my Kolstein Guarneri. I agree the Spiros are more punchy, and I am using the Spiro / Obligato combo on my King now. I find the Obligato D and G is warmer than the Spiro D and G but has similar growl and sustain and they bow a little better...they blend really well together.
 
I've spent a lot of time this month really trying to dial in a better faster more fluid technique for playing running 8th notes at speed and other technical pyrotechnics. I have always really dug the way Dave Holland specifically seems to be able to keep the pulse and flow under any subdivision that he is playing and how no matter what interval, rhythm, or pattern he is moving thru, the underlying pulse never varies or interrupts. I took a couple of workshops from Dave years ago at Gages and still work on the material he put forth. Dave has always used the same strings, the Reds and going back to them the other day from Perps I had this insight about that....in order to play fast you have to play lighter (even if it is just for the fast passage) and the Reds have this instant response that even if you are playing light and fast still register distinctly as separate notes. I used to think that the stiffness was a slowing factor but it isn't if you dial in your right hand. In that workshop Dave had these exercises that he does every day of his life and I have worked on them pretty regularly too (although I am left handed but play right handed so I feel that my right hand speed and dexterity is always a little lacking) anyway the point is that when I took off the Perps and put back on the Reds, the brightness, the steeliness, the quickness of the Reds all hit me like a ton of bricks and I remembered what Dave was saying about compromises- that in order to achieve specific goals (like say fluid 8ths at speed with pulse and variation) you have to orient other aspects around your goals. I loved the sound of the Perps when I first put them on and the looseness and sound of my bass, but putting the Reds back on made me realize what I was sacrificing. Im not dissing the Perps, I really loved the sound of them new, but what I am working on has been enhanced by returning to the Reds. I always wondered why Dave never changed strings if 40 years and I can see why now, while other strings have remarkable sonic qualities, the Reds are lightning fast super brite (which makes the speed and separation of notes speak best) and they can reach their speaking voice with just a quick touch from a finger tip. My bass sounds somewhat better with the Perps but in the context of playing with a band (or lately Drum Genius) those little differences disappear and the Reds speed and articulation get my vote.
More info then anyone wants I know but I had an extra cup of coffee this morning and the kids are sleeping in.
 
I think that I have an Obligato D/G around here somewhere and I may install them with Perm E/A this weekend, just for something new.

In my past experience those Obligati are better at home than on a gig with anything less than ideal sonic challenges or as I call them "a gig". But, that's not really what we're all living right now, so it might be a nice change in my basement.
 
I've spent a lot of time this month really trying to dial in a better faster more fluid technique for playing running 8th notes at speed and other technical pyrotechnics. I have always really dug the way Dave Holland specifically seems to be able to keep the pulse and flow under any subdivision that he is playing and how no matter what interval, rhythm, or pattern he is moving thru, the underlying pulse never varies or interrupts. I took a couple of workshops from Dave years ago at Gages and still work on the material he put forth. Dave has always used the same strings, the Reds and going back to them the other day from Perps I had this insight about that....in order to play fast you have to play lighter (even if it is just for the fast passage) and the Reds have this instant response that even if you are playing light and fast still register distinctly as separate notes. I used to think that the stiffness was a slowing factor but it isn't if you dial in your right hand. In that workshop Dave had these exercises that he does every day of his life and I have worked on them pretty regularly too (although I am left handed but play right handed so I feel that my right hand speed and dexterity is always a little lacking) anyway the point is that when I took off the Perps and put back on the Reds, the brightness, the steeliness, the quickness of the Reds all hit me like a ton of bricks and I remembered what Dave was saying about compromises- that in order to achieve specific goals (like say fluid 8ths at speed with pulse and variation) you have to orient other aspects around your goals. I loved the sound of the Perps when I first put them on and the looseness and sound of my bass, but putting the Reds back on made me realize what I was sacrificing. Im not dissing the Perps, I really loved the sound of them new, but what I am working on has been enhanced by returning to the Reds. I always wondered why Dave never changed strings if 40 years and I can see why now, while other strings have remarkable sonic qualities, the Reds are lightning fast super brite (which makes the speed and separation of notes speak best) and they can reach their speaking voice with just a quick touch from a finger tip. My bass sounds somewhat better with the Perps but in the context of playing with a band (or lately Drum Genius) those little differences disappear and the Reds speed and articulation get my vote.
More info then anyone wants I know but I had an extra cup of coffee this morning and the kids are sleeping in.
It seems that string voice is almost just as much about what you give up as it is about what you get from X set of strings.

What you describe in your post — your words reinforced with DH’s approach, certainly make a strong case for putting that old full set of Spiro mitts back on. In my case, what I’d be giving up is the fact that I don’t much like putting a bow to them - not the feel nor the sound.

So what to compromise? Depends on which side of the pizz/arco fence you’re on, I guess.
 
yeah for sure, What I have always been interested in as a bassist is playing in the most modern complex harmonic and rhythmic contexts where the bassist is more an equal voice then an underpinning (I love being an accompanist and take that primary goal very seriously it's just that the music I gravitate toward requires a more forward approach)....And absolutely no one has ever hired me for my arco...actually that isn't true but generally....
 
yeah but that was in the 60's and a lot of water has gone under the bridge since then...music progressed and so did our role within it, even on upright.
Fer sure and that's a very good thing. The great thing is we can take it anywhere.
yeah but that was in the 60's and a lot of water has gone under the bridge since then...music progressed and so did our role within it, even on upright.
A lot of water had gone under the bridge during the 60s as well!
 
I one had the soundpost rather close to the bridge foot, a cannon for pizz, but rather unpleasant with the bow on the higher strings (high C and G in my case). After repositioning the sound post by my luthier the bass was less scratchy with the bow and I didn‘t need a two-element bridge wing pickup. One element at the E side worked well then.
So it might rather be a setup problem than a string problem.
 
When it comes time to change strings in a couple months, I've been thinking about putting another set of Perpetuals on. Aside from not having as much acoustic volume as I'd like, they do sound great on my bass. (Of course I'm saying that now but in 2 months I'll get the itch to go back to something else or try something new.)
 
The Belcanto G on my son's bass became unwound and I temporarily raplaced it with the Perpetual G that I don't use (Oliv G). He loved the tone and found the arco response to be easier than the Belcanto's. I just ordered a new set of Perpetuals minus the G and when they get here I'll put them in my bass and the old ones will go to my son's bass (he plays 80%). I will record a clip of my bass with the old/new set so I can compare how much they've lost in ten months.
 
The Belcanto G on my son's bass became unwound and I temporarily raplaced it with the Perpetual G that I don't use (Oliv G). He loved the tone and found the arco response to be easier than the Belcanto's. I just ordered a new set of Perpetuals minus the G and when they get here I'll put them in my bass and the old ones will go to my son's bass (he plays 80%). I will record a clip of my bass with the old/new set so I can compare how much they've lost in ten months.

how old are the perps on your bass?