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.
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).
But if you play concerts, the subtlety of sound is maybe not in the foremost line of consideration; player might ask for power and confidence that the guitar is cutting through. How else could one explain the big success of all the powerful lattice braced guitars with less than marvellous sound? So I think what people chose for what purposes might be dependent on many more factors than just stating that the guitar would be otherwise too dull.
I assure you, dullness is the last thing any experienced player would use to qualify a Nowak or a Stenzel guitar. Actually, though they pursue similar sound ideal, they are a bit different in sound, but both strong and radiating in trebles.
Music is a big continent with different landscapes and corners. Some of them I do visit frequently, some from time to time and some I know from hearsay only ...