I put my Wood Realist on for the first time a couple of days ago. The front of the pickup ended up one millimeter shy of the front of the bridge foot. Now I am afraid to correct it from fear of "ruining everything". Sorry for derail.
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Double Bass SPIROCORES ARE SO MUCH FUN!!!!!!!
- Thread starter Jason Sypher
- Start date
I tried the Zyex mediums and lights on my bass and could not stand the arco on the E and A strings. The A string simply would not stop howling.
Same, i had alot of trouble with them. Though my arco is not the greatest. Was curious what someone with established arco technique thought of them.
Lynn Seaton likes them a lot. I think his arco technique is pretty established!
Yep, see that's the thing. I am realizing my own gauge of how good a string is for arco is not good considering my own level of technique. I had trouble bowing the E/A strings of just about every set i've had, but none were a true arco set. Zyex Med first, then Heli Hybrid Light, and now Spiro Weich. I think i am actually doing better with the Spiros now, but maybe my technique has just improved. Still refining my own arco recipe...
Full disclosure, I am no ace with the bow either, though I've recently began taking lessons with the new professor at my local university in an effort to improve.
My issues with the Zyex E and A may have had something to do with them simply not being a good match for my bass. Spiro Mitts were magnitudes easier with the bow. Now that I remember it, even for pizz playing the A string was really, even unpleasantly buzzy and growly in the lower positions and especially on the open A. The E was similar but less pronounced. I gave them a month to break in, tweaked the string height, etc. to see if I could tone them down, but it was to no avail for me.
I did like the D and G very much and could see my self mixing those with Spiros or some other bright/ish steels.
I’ve had the same experience. I love the Zyex medium D and G, but the E and A are too loose on my Christopher hybrid, so I use Spiro medium E and A.
No arco skills to provide meaningful comments.
No arco skills to provide meaningful comments.
In many ways, your arco technique will develop in relationship to your string choice. I began on spiros, went through school and changed strings at my teacher’s request, always felt lacking in the arco department, went back to Spiros, and much of my deficiency was alleviated. Find a tone you like then play the arco practice game and improve your technique with everyday practice. I love Spiros and can play everything arco on them within my ability. I play excerpts, solo, chamber, improv, folk, and jazz on them with equal facility. My 2¢.
I use spiro mittels on my orchestral and solo basses and make my living playing in the orchestra. There was a bit of adjustment necessary with my bow-arm when I first started using them, but I honestly got the impression the strings more just needed tons of time to break in. On my orchestral bass I have spiros that have been on and off several basses over the years but have about 1.5-2 years of playing time on them in total and they...finally...have lost just enough (!) of that zing that I can start the string with the articulation I want every time (sort of like belcantos out of the package, except that spiros actually give a wide palate of harmonic feedback and have a significantly more complex sound...plus hearing myself in the section is much easier because of this). However, they tend to have a mind of their own before they are properly worn in and that added a bit of stress before some solo, chamber or even orchestral concerts with exposed licks. I still have some perms laying around and want to see if they have that worn-in spiro vibe without the two year wait time. But for now, I'm happy!
I prefer my spiros in the new-2 year range. I'll send you my spiros when they're used.
It's all technique in the end. Learning the relationship of bow to string varies no matter what string you play and, a little like a clutch in a car, you need to learn how to adjust to any variable or string and remain equally smooth. That said, bowing on a string that was dampened and designed for the purpose of bowing can help you improve your technique faster (as does a proper classical set up). When I put on solos for the first time and lowered my string height, for instance, I immediately understood more about why Edgar sounds the way he does, the string is made for that kind of playing and expression. Playing that particular string helped me get into that sound in a way that a standard set just wouldn't reveal. Once I walked a bit in those shoes I could transfer that knowledge to any string. I think it's a good idea to get the string that is made for whatever discipline you are trying to master. Then get the skill and the sound, and then play whatever string you need to play. You could say the same of guts for slap. If you want to learn to slap like the masters then you would get gut stings and set your bass up like those players. Once you mastered the basics of the style you could then likely get most of that sound out of any string you choose. Point being, don't mess around and waste time square-pegging round holes to try to learn a technique. Technique is something no one can take away from you. Once the light is turned on and you realize how something is done you will be able to do that anywhere at any time on any string.
@Jason Sypher Jason, if you dont mind, how on earth do you get this amount of thump out of those growlytwangy suckers? It sounds freakin awesome, and such a great song:
Good lord this is a long time ago! hahahaha...That's my Italian bass. It doesn't sound like that live. But with a good mic and a soft touch, it can sound huge. I remember this now. It was early in the morning. We were on tour and just got off the bus and played. Everyone was probably a little hung over, but it created a pretty relaxed vibe. You know, sometimes being a little raw can really help you, hahaha. Thanks for listening.
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I think there is a lot of great wisdom here. At the same time Spiros are just the only available string with this much tonal range. Every other string on the market does what it does by restricting tonal range. When we play Spiros we learn to isolate the different tonal areas for what we are doing at that moment.
So, I would say learning to bow on a dampened string just makes you THINK you are improving your arco.
What I am learning as I get older is that strings, set up and carved top are the most important things I need to do my work. On my old bass, everything has a far richer tone, but, my travel bass which is essentially a student quality hybrid in no way restricts anything I do, where a fine old bass with dull string really would.
So, I would say learning to bow on a dampened string just makes you THINK you are improving your arco.
What I am learning as I get older is that strings, set up and carved top are the most important things I need to do my work. On my old bass, everything has a far richer tone, but, my travel bass which is essentially a student quality hybrid in no way restricts anything I do, where a fine old bass with dull string really would.
I tried a different string on my hybrid and have to remind myself to switch back before my gig tonight. I think I'd love to say I play some fancy other string but can't get away from the reliability AND SOUND of the spiros.
This also occurred with me, not with guts but with Innovation polychromes on top of Spiros. The Spiros tightened up the sound and feel of the polys. Oddly enough, they sounded like a set, a set I could use for multiple applications.
Earl
Supporting Member
I agree with this, at least in principle. I have lately been using spiro solos ( but with a gut G - I'm not that crazy haha!) after years of all guts, Gensslers, synthetics and you name it. I find that I can control the spiro whine and growl (which is not my thing) with technique, but in the heat of the musical moment I tend to lose control, so to speak, and they wind up sounding like spiros again, whereas with gut, they just always sound like gut and I do not have to think about it - and the more I can get out of my head while playing the better. I do like the quicker response though, and since switching to the solos I have never gotten more compliments on my tone.
