Peter, surely you can take it that way, but I would rather think it's a certain need that is expressed by the players and not an 'objective' property of a guitar. For my ears fluorocarbon strings are way too bright on (almost) any guitar (and most certainly on Nowak or Stenzel guitar which both have a fantastic treble response).petermc61 wrote:Hi Robert
I might have been pushing the argument but yes I was serious.
Alliance HT are probably the brightest treble strings made. The e1 to my ear is positively bright, thin and I can't imagine using it on any of the guitars I own. I hold nothing against Savarez as a company as I love the Cantiga basses and I use their carbon g from time to time.
Now, I know there are professionals who use strings other than Alliance (Matthew McAlister, Jason V, Tariq Harb come to mind without much effort) so it is not as if Alliance HT strings are the standard string for performers.
So there are two ways to approach my logic. I assert Alliance HT are the brightest treble strings made. Maybe I am wrong, but I have never heard brighter.
If, truly all professionals use them on his guitars then this suggests either the guitars do not sound bright enough with (maybe) the other 99% of treble strings available on the market OR as a class of players the pros who use his instruments like bright, thin sound.
I rather hoped it was not the latter in which case I concluded that if so many good players concluded the guitars do not sound bright enough with any other brand of treble string then that is the same as a guitar that is generally a little dull. A guitar without sufficient treble response is what I call 'unbalanced'.
That might sound like a tough call and I hope as an owner of one and a friend of the luthier I didn't mean offence.
I see you have put other strings (nicer, in my view) on yours and are happy with it. That's great. What I don't get still is the uniform need for a bunch of professionals to use Alliance HT on them.
In Robert's temporary absence I will point you to a very recent thread of his about a spruce/maple Stenzel he just acquired.Kintla wrote:One other thing, listened to the recordings on Sebastian's site. The sound that entrances me is the guitars made with maple and spruce. If these are as great sounding in person as they are over the internet, I would be very interested. Rojarosguitar, have you any experience playing his maple instruments, and what were your thoughts if I may ask.
I completely agree, Tobias. Carbon strings do often falsify the natural sound quality of a good luthier made guitar in the Spanish or Hauser tradition. Nonetheless I would like to confess my bias for carbon g strings, particularly for Knobloch carbon g. It's an excellent choice for those who prefer the natural nylon sound, but the playing comfort of a carbon g. I know that Dogal is the favorite brand for all the beautiful guitars leaving your workshop. I also find Dogal quite appealing and I can hardly wait to touch my future spruce/yew Santos copy, strung up with Dogal, for the very first time. But please forgive me for sticking to my habit and bringing a Knobloch g carbon string to Gaaden end of June.Tobias Braun wrote: ↑Wed Apr 26, 2017 6:35 amGood morning!
That is - in my opinion - a good question! Thank you!
For me as a guitar maker it is most important to draw trustworthy conclusions from the experiments I did/do in my workshop. When I change a detail in the construction I want to be sure that it REALLY influenced the sound of an instrument - or not.
There are strings on the market that have a particular strong character; i.e. they add THEIR character to the sound of a guitar. I am talking of "carbon strings".
It doesn't make sense for me to put strings on when you cannot be sure what finally "made" the sound.
I like to compare it with cooking a soup: One makes use of the finest beef or vegetables and finally puts in lots of curry powder. The fragrances of the original ingredients are gone then...
My choice of strings are the ones from DOGAL (Venetian or Diamante) because they have a very "neutral" character and help me to find out, if my ideas or experiments turned out satisfying or not.
Best regards from Gaaden,
Mostly a good summary, but I'm not too happy with equating neutral with boring. There are many strings that sound brighter than D'Addario nylons (45s/46s), but on a good guitar, they have a beautiful tone which for me is a long way from boring.
James Lister wrote: ↑Fri May 05, 2017 8:50 amMostly a good summary, but I'm not too happy with equating neutral with boring. There are many strings that sound brighter than D'Addario nylons (45s/46s), but on a good guitar, they have a beautiful tone which for me is a long way from boring.
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