I was just curious because they made a point of the direction. The angle is slightly sharper their way, which might add a bit of tension. It's probably negligible so I won't nerd out about it. I would agree with the 15-20% more volume.We ("my" luthier and me) did it in the same way like Derek High and Bozo and it works really fine.... if it becomes brighter, I can take picture, but it looks the same as Bozo's pic..After mounting the strings this way I mentioned to Jan-Ole, but there was no objection..
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Double Bass So Gerold’s cooking up something new...
- Thread starter Kaspar Vadsholt
- Start date
Exactly that was our consideration, but I agree, that the influence to sound should be negligible.
@ adarvas: did you have to raise the string height and adjust the bridge (much) for the temperas?
What's your string height (G to E) in mm with the temperas on?
Nice playing and great sound in the video fragments BTW, thanks!
What's your string height (G to E) in mm with the temperas on?
Nice playing and great sound in the video fragments BTW, thanks!
It does not matter if you mount (all) strings over the top or bottom of the tailpiece. The tailpiece will adjust in angle, but the strings still point to the top of the saddle. This is the shortest way.
It has an influence on bridge pressure if you mount some strings differently than others. The tailpiece might twist a bit and middles the pressure differences.
The extra loop for the outer strings at the tailpiece can help to avoid getting the tube part between wound strings and strap onto the peg. If you wind the stiff tubes even partly onto the peg, the string might break.
It has an influence on bridge pressure if you mount some strings differently than others. The tailpiece might twist a bit and middles the pressure differences.
The extra loop for the outer strings at the tailpiece can help to avoid getting the tube part between wound strings and strap onto the peg. If you wind the stiff tubes even partly onto the peg, the string might break.
Here is a little bit with the bow. I will need a sound post adjustment because the top two strings are tighter than the E and A. Also, I may need to raise the action because I'm having a hard time starting the notes clearly......so have mercy and don't judge me too harshly. I put the phone extremely close to the bass. You wouldn't hear the screech on stage. Excuses, excuses....
OK my 2 cents. I've only had them on for 2 days and I'm very happy. These are like Compas 180 on steroids. Tension is about the same, pizz is easily better and arco is lovely, much easier and cleaner than the velvets and the tone is beautiful. You barely have to touch the strings with the bow. Amazing!
No adjustments to the bass yet. I will cut a new fixed bridge soon and try some sound post adjustment. AFA volume not a lot louder that the old 180's I had on but clarity is way up there. I also had to flip the strings around at the tailpiece to deal with the rib on the Wittner composite I have on.
No adjustments to the bass yet. I will cut a new fixed bridge soon and try some sound post adjustment. AFA volume not a lot louder that the old 180's I had on but clarity is way up there. I also had to flip the strings around at the tailpiece to deal with the rib on the Wittner composite I have on.
I just got a call from my luthier with some sh..tty news. Based on the recommendation of the guys at Tempera, I had a new master quality bridge installed without adjusters and the E and G strings apparently became unraveled when the strings were put back on. I told him to put the leather piece on the peg and to stay away from the cheeks of the peg box, which he did. These guys are the best in Toronto, I've seen them working on Janos Starker's Strad and other priceless instruments, I'm sure they haven't done anything wrong. I hope the warranty applies and I get the replacements soon. I know this is a very "first world" problem but I'm just beside myself right now. I was sooo looking forward to practicing with the new bridge, finally all in order as these strings require. Now back to the waiting game......
Sorry to hear that, after your long wait and the$$$ for the new bridge, drag. Did they come apart at the peg end?
From the nut down on the E string you can push the winding up and down. I can't tell on the G, it feels bunched up. I don't know what's happening on the G it just feels different and worse. Drag is the word indeed! On the upside, my bridge is a work of art and I can already feel the benefit. He had a beautiful Aubert that's been sitting in the workshop for 25 years at least. Seasoned? I'd say!
Did you contact Ja-Ole Fabian? Could be interesting to hear/see, what he is saying... and perhaps there is any idea to help you with this problem..?!?
I did, right after I got the call. My luthier is not only the most reputable and trusted guy but he is also a professional bassist so he knows exactly what's going on. I haven't received a reply from Jan-Ole but it's been only a couple of hours. I asked him to replace these as they are only a couple of weeks old and all recommendations were followed with the installation. I sincerely hope I'm not going to get any hassle. I'm not sure if these are fixable. Troy (my luthier) said that with gut strings you can oil them and as they swell up they may become temporarily playable. I'm not going to try that because silk is probably not going to absorb the oil. He says it's an issue with the adhesive. Now that I played it little more I can tell that the E lost it's "guts" and focus, just no good. The G is even weirder. Like it came loose and bunched up within, hard to explain. Anyway....fingers crossed because I really want this to work.
I had a breakage with my B string and Jan-Ole graciously offered to replace it. I had no problems with the other strings, well I did with one but it was entirely my own fault. He got back to me after a day. I think they are super busy with the Tempera roll out.
Two things are really striking to me. Playing above the D and high G harmonics on the G string (Rabbath 5t and 6th position) is so much easier and cleaner sounding than it was with my Flexocores. Night and day. Trying to get a decent note on the A string in particular up that high was murder -- no longer. The other is played pizz all of a sudden my bass sounds delightfully open and growly like Gary Peacock.
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I'll be interested in hearing your thoughts on the low B. I have a 5 string bass being made for me right now and although I'll probably put Spiros on it right away, I do want to try Tempera on it at some point. Probably when gigs are a thing again...
He has always been very nice to me and of course I didn't expect him to reply immediately, I understand how busy they must be. I hope this will get resolved to my satisfaction because otherwise I'm so happy with the strings. Like you said, everything is better. The fundamentals are so strong and focused that my intonation is improving by the minute and the pizz sound is what my luthier remarked on, how thick yet clear and layered it was. Back to my chromatic scales.....
I've had mine on AES#34 for a week. Freshly installed, they sounded and played like new Spirocores. As they've settled, they're calming down. Some fiddling with the Krentz wolf eliminator has improved things as well. They're definitely louder than the Bel Cantos they replaced, and there's a lot more pizz sustain than I expected from an arco-oriented string. I think it'll be a month before they really settle in.
Yes! They samples posted here sound very Spiro-like in their bloom and pointy nose of the mid frequencies.
So glad to hear someone who bought them describe them this way. Everyone has been describing them as being gutlike in this thread and I was starting to feel like a crazy person!
So glad to hear someone who bought them describe them this way. Everyone has been describing them as being gutlike in this thread and I was starting to feel like a crazy person!
I'm hoping they'll calm down. The Krentz device helped some with the harshness, which is easing as they break in. It'll be interesting to see how they sound in a section, if such a thing ever happens again. I may need a soundpost tweak at some point.
salcott ... What is your pizz / arco proportion ...50/50 ... or ?
Do you think many pizz players will consider the Tempura arco/orchestra string? And for which style of music? Thanks!
