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Double Bass SPIROCORES ARE SO MUCH FUN!!!!!!!

#162
Just chiming in to say that i am now a Spiro convert. Wish i picked them up sooner. I just love the pizz tone and power of the string.

Unfortunately my open G string still buzzes slightly, less now that the strings are losing the new string zing. I have confirmed it is indeed happening on the fingerboard side of the nut. The nut just seems to have been cut a hair too deep for a string this thin.

@DoubleMIDI you mentioned using a little piece of cardboard under the string at the nut, can you elaborate on how to do that? If i can't fix it i will likely just go for a setup, my bass hasn't been setup since i bought it new from Upton 3-4 years ago.
 
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#165
sean_on_bass said:
@DoubleMIDI you mentioned using a little piece of cardboard under the string at the nut, can you elaborate on how to do that? If i can't fix it i will likely just go for a setup, my bass hasn't been setup since i bought it new from Upton 3-4 years ago.
Click to expand...

Here's my totally high tech solution that has been in place on my LaScala on the G slot for the past 7 years (or however old those strings are by now): I got a box of diamond matches, used them all up, then cut a little square of cardboard out of the box part instead of throwing it away. I loosened the string, stuck the cardboard in there, then tuned the string back up. About a year later, the look of it started to annoy me, so I got super hi tech and covered it in with a sharpie. Still going strong! :D
 
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#167
sean_on_bass said:
@DoubleMIDI you mentioned using a little piece of cardboard under the string at the nut, can you elaborate on how to do that?
Click to expand...
Chris already gave you some instructions.

You can try a piece of cardboard as long as the nut groove and as wide or a bit more than the nut grooves width. But it easily happens that the cardboard moves towards the peg when tuning the string up and that results in a longer scale and a lower string height at the nut compared to the ending position exactly at the lower end of the nut.
To avoid that you can make the cardboard wider so that it goes around the string and on both sides is enough cardboard sticking out to hold it in place while tuning up.
Another method is to place the cardboard a bit over the fingerboard so that tuning up gets it in place (more or less). That might need a bit of trying until you gets it where it should belong.
BTW, I also have used plastic from yoghurt cups for that, but they are often too slippery. You might want to rough the underside (contact with the nut) up to avoid to be catched by the string but to get catched by the nut.
If your open string (but not fingered notes) are too bright you can use a thin piece of rubber under the string at the nut. But it must be a lot thinner than bike inner tube.

And Chris didn't use the matches for the nut, only the cardboard of the matchbox.
 
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#170
I've used both 3/4 and 4/4 lights and yes - one thing I like about the 3/4s is having some of the depth of the mediums - sort of a set "in between" 4/4 lights and 4/4 mediums (sort of).

But I was wondering if there was a physics (?) reason - I guess the reason why T makes two versions? Is there a reason why someone would use the 3/4s specifically, based on the kind (size, SL) of bass they're putting them on?

Thanks!
 
#171
I would guess the design of the strings is that the 3/4 was really meant for a 3/4 size, and the 4/4 were made to fit a full size/longer scale bass but just so happen to sit quite nicely on a 3/4 bass as well with slightly less tension then the ones actually made for 3/4.

But i see what you are saying...why not just make a 4/4 set if it works well on a 3/4? Not sure of the answer, but maybe to give users more options and satisfy those that want a string with a length designed for a 3/4 bass. Maybe others can clarify, these are all just guesses.
 
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#172
I guess I'm wondering about this because my bass is described as a "large 3/4, small 7/8" size (42" SL). So, 3/4 strings or 4/4 strings for a bass that's technically in-between?

... this could also be filed under "just use the ones that work better for you (and stop thinking about this kind of stuff)"...
 
#173
The 3/4 and 4/4 Spiros were designed for the bass division of a large orchestra (I was told but forgot which one but I think it was the Vienna symphony).
The 3/4 and 4/4 strings were designed to have about the same tension at the same pitch at different scales. So since a fingered F on the E string of a 110 cm scale is about 105 cm vibrating string length, you need to tune down by the difference to get an E at that fingered position. So on a shorter scale at the same pitch a string has less tension.
For exact calculation download formulas.html from my Dropbox (link in signature).

Since orchestras often change strings twice a year, that is a constant customer (and the Vienna symphony local to Thomastik-Infeld). So that's the way it goes. Spiros were not made for jazz bassists, they were used by them.
 
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#174
DoubleMIDI said:
The 3/4 and 4/4 Spiros were designed for the bass division of a large orchestra (I was told but forgot which one but I think it was the Vienna symphony).
The 3/4 and 4/4 strings were designed to have about the same tension at the same pitch at different scales. So since a fingered F on the E string of a 110 cm scale is about 105 cm vibrating string length, you need to tune down by the difference to get an E at that fingered position. So on a shorter scale at the same pitch a string has less tension.
For exact calculation download formulas.html from my Dropbox (link in signature).

Since orchestras often change strings twice a year, that is a constant customer (and the Vienna symphony local to Thomastik-Infeld). So that's the way it goes. Spiros were not made for jazz bassists, they were used by them.
Click to expand...
Thank you!
 
#177
Honestly, I don’t really know. At the time I was using Spirocore strings, I was not aware of these finer distinctions. However, had I been aware of them, I think the fact that I chose to play Spiro Starks for several years effectively answers the question of which set I would prefer. :)
 
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#178
On the other end of this spectrum, I’m still liking 4/4 Sprio solos on my plywood shen for pizz. They are dark but focused, and and have an even feel and and tone. The G isn’t as thin sounding or feeling as I was worried about. They don’t put out crazy acoustic volume, although I don’t have mine particularly high. While they aren’t exactly powerful, they are punchy and clear enough to not be buried in the mix with other acoustic instruments. Very easy on the hands for a steel string, although I bet mittel players might have a tendency to overplay them.

Amplified, I’ve been using a Krivo pickup for a more hybrid sound with the loud, jammy fusion band I tour with, and they are fantastic for that (admittedly niche) use.
 
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