Double Bass New strings A string Rattle

[Slaphound]

Well. After listening to you guys, I decided to look at the bridge again. I found that it was indeed over 90°. I loosened the strings a little bit and pushed it back some. I believe now that the bridges in a good position and I also believe that it may not have been in a good position before it fell.

 

[Slaphound]

By the way. Is setting the right angle of the bridge done by eye or is there a better way? Using a tool or a Credit Card maybe?

 

[Don Hergert]

Any appliance that sits at a right angle to the top on the tailpiece-side of the bridge should give you a good starting point. Keep in mind it will never be absolutely perfect, but it should be mighty close.

Another thing, which probably didn't happen, but is worth thinking about... Did your sound post slip out and fall when your bridge fell? You'd definitely hear it rattling around inside if it did, in which case loosen the strings immediately and take it to a luthier to re-set the sound post. Otherwise you could have top damage from string tension with no sound post in place. Your sound post may have moved but not fallen, in which case you'd have tone differences, but not top damage -- and since you're using new strings it would be hard to recognize tone differences. (Some folks take their DBs to a luthier when the strings are changed to have the bridge and sound post adjusted anyway.)

 

[Slaphound]

Does this look right. I think so but I may as well ask.

 

[Don Hergert]

Looks as right as anyone could expect to see, without having a square there.

So how is the SF Solo A sounding after all this?

 

[Slaphound]

Looks as right as anyone could expect to see, without having a square there.

So how is the SF Solo A sounding after all this?

I have a D'Addario Helicore on still as I am waiting for a replacement Super Flexible A string to come to me from Gollihur. Plus the Sound post didn't fall. Fortunately it stayed in place as far as I can tell.

 

[Francois Blais]

Look at this string. I’m getting a replacement.

Actually, having the brand name Superflexible doesn't imply these strings should be floppy as noodles.
A bit of history here, if you don't mind: For Sale - Knutson Messenger Custom DLX Electric Upright Bass and Acoustic Image Coda+ 560AA Bass Amp

 

[Slaphound]

Actually, having the brand name Superflexible doesn't imply these strings should be floppy as noodles.
A bit of history here, if you don't mind: For Sale - Knutson Messenger Custom DLX Electric Upright Bass and Acoustic Image Coda+ 560AA Bass Amp

I would have thought they would be. But I’m amazed that there was a very stiff portion of the string and a portion that was like a wet noodle. That is what makes me believe the thing was defective.

 

[Francois Blais]

Well, the string is certainly defective, no doubt about it.
I just wanted to clarify the idea that T-I Superflexibles strings should be floppy.
They were named that way because the rope-core technology was less stiff than the common steel solid-core of the era.
Spirocores are already more supple than Superflexibles.
Some orchestral strings from Pirastro are really floppy as noodles. Depends on the design of the string.
T-I Dominants are very stiff out of the box. But become more supple under tension.

 

[Slaphound]

Well, the string is certainly defective, no doubt about it.
I just wanted to clarify the idea that T-I Superflexibles strings should be floppy.
They were named that way because the rope-core technology was less stiff than the common steel solid-core of the era.
Spirocores are already more supple than Superflexibles.
Some orchestral strings from Pirastro are really floppy as noodles. Depends on the design of the string.
T-I Dominants are very stiff out of the box. But become more supple under tension.

Makes me wish I went with Spiros instead.

 

[Don Hergert]

@Francois Blais, are SF Solos lower tension than Spiro Solos at standard pitch?

 

[Francois Blais]

Tension, I don’t know, but less supple, yes.

 

[DoubleMIDI]

For tension look at my excel file.

 

[Jeff Kissell]

@Francois Blais, are SF Solos lower tension than Spiro Solos at standard pitch?

According to Thomastik's website, the Spiro A string is slightly lower tension but all others are the same at solo pitch. I would assume that roughly translates to Orchestra pitch also. This is for the 4/4 length.
-J

 

[DoubleMIDI]

According to Thomastik's website, the Spiro A string is slightly lower tension but all others are the same at solo pitch. I would assume that roughly translates to Orchestra pitch also. This is for the 4/4 length.
-J

No, that’s not the case.

Spiro Orchestrals slightly rise in tension towards the lower strings.
For me this is a good thing for playing in the lower part most of the time.

For classical solo playing you hardly use the lower strings at all and if, then they shouldn‘t take too much power since it would take the interest away from the high solo register.
Some people may like equal tension, but not me.
Even the discontinued Velvet Compas 180, which are announced as equal tension rise in tension towards the lower strings (measured!), similar to Spirocore Orchestrals. I didn‘t like the equal tension of the Velvet Classico, but the G was a bit more bowable than the other Compas 180 strings and missing in my Compas 180 set.
So don‘t trust the marketing talk too much.

 

[Jeff Kissell]

No, that’s not the case.

Spiro Orchestrals slightly rise in tension towards the lower strings.
For me this is a good thing for playing in the lower part most of the time.

For classical solo playing you hardly use the lower strings at all and if, then they shouldn‘t take too much power since it would take the interest away from the high solo register.
Some people may like equal tension, but not me.
Even the discontinued Velvet Compas 180, which are announced as equal tension rise in tension towards the lower strings (measured!), similar to Spirocore Orchestrals. I didn‘t like the equal tension of the Velvet Classico, but the G was a bit more bowable than the other Compas 180 strings and missing in my Compas 180 set.
So don‘t trust the marketing talk too much.

Are you suggesting the information on Thomastik’s website is incorrect? I took their tension numbers for 4/4 Spirocore solos and 4/4 Superflexible solos and compared them directly. That seemed to be the question I was answering.

 

[DoubleMIDI]

No, tension data by Thomastik is correct. (As correct as it can be due to manufacturing tolerances.)

What I meant is that Thomastik Solo strings are roughly equal tension (except the Spiro 1/2 solos and the Dominant solos) but Thomastik orchestral strings rise in tension towards the lower strings (by about 10% or a bit less from G to E).
String design requirements can lead to non-equal differences, but that is the basic design of solo and orchestral strings at Thomastik.

 

[Slaphound]

These strings are not for me. I am getting a buzz on the open G string now. I still haven't received my replacement A string. And I'm getting advice that the Solos are not the best string I could have gotten. It was recommended that I get the Spiro Welch set. I guess I'm asking you guys. What do you think. I don't like the tone right now anyway. Its been a few weeks. They must have broken in by now. Im really disappointed in these strings. They slap well but It matters if when I pizz I don't like the tone. Thoughts?

 

[AGCurry]

These strings are not for me. I am getting a buzz on the open G string now. I still haven't received my replacement A string. And I'm getting advice that the Solos are not the best string I could have gotten. It was recommended that I get the Spiro Welch set. I guess I'm asking you guys. What do you think. I don't like the tone right now anyway. Its been a few weeks. They must have broken in by now. Im really disappointed in these strings. They slap well but It matters if when I pizz I don't like the tone. Thoughts?

Buzz on an open string is probably because the string is too low. Low-tension strings require more clearance to the fingerboard.

Here are the reasons I know of to use solo strings at orchestral tuning:
1. Slapping is the major factor in string choice;
2. The bassist has physical problems with either of his hands;
3. The bassist simply likes the floppy feel.

Solo strings are designed to be played a step higher. It stands to reason that arco and pizzicato aren't going to measure up to standard-tuning strings - by design.

 

[Slaphound]

Buzz on an open string is probably because the string is too low. Low-tension strings require more clearance to the fingerboard.

Here are the reasons I know of to use solo strings at orchestral tuning:
1. Slapping is the major factor in string choice;
2. The bassist has physical problems with either of his hands;
3. The bassist simply likes the floppy feel.

Solo strings are designed to be played a step higher. It stands to reason that arco and pizzicato aren't going to measure up to standard-tuning strings - by design.

Your right, Sir!!
I bought them to slap on. I've got an adjustable bridge that I could try to see if that stops the buzzing. But. For me. Once I traded the A string of the Solo set for the Helicore, I realized that the Helicore slapped pretty good but sounds ten times better to my ear for pizz. I pizz with the bass too so I think I've learned some things here. Or I am learning now. I might change these strings out and try the Spiro or just put the Helicores on fully. Or I might learn to like them. Not sure.