Rasputin wrote: ↑
Mon Jul 24, 2017 9:31 am
It's a wonderful sound.
I had not heard of metalonylon strings, but have often wondered why ordinary bass strings a nylon core and metal windings - which squeak as we know - rather than having a metal core and a squeak-free nylon coating.
Is there a technical reason for using ordinary wound strings for the 5th and 6th strings on this guitar? Are metalonylon strings available for E A and D on a standard guitar?
Thank you Rasputin for your comment. There are some constructional reasons for the squeaking of the mormally used wound bass strings as you very well describe. On a well constructed wound bass string the squeaking can be eliminated. It can be confirmed on the video played by Smaro, where she is using silver wound basses on the 5th and 6th with no squeaking in the performance.
Each constructional material that will be used provides different timber/color qualities, when the vibrational medium as a string performs oscillations but however, one has to balance out these different timber/color qualities. Quality silver wound strings are most effective for the tunings of the E, A and D on the guitar and they provide a color/timber contrast differece to the metalonylon used as trebles as 3d-G, 2nd-B and 1st-E (in the normal tuning of open strings).
The color/timber contrast however between the 4th-D and 3d-G in the case of matalonylon strings remains very effective, sounding natural and desirable. Compare for instance the contrast between the 5th-D string and the 4th-G string on the video of Smaro where open strings=fifth fret and you can confirm this yourself. This happens because the metalonylon G string has a combination of metal and nylon material in its construction, so, the nylon provides the mellowness and the metal wound metallic hairs as a core of the string provide the brilliance, so the passing from the fourth to the fifth string and vice-versa is not so far away different in timber and color, but is aesthetically desirable.
In our normal strings the passing from the fourth (silver or copper wound) to the third (nylon) string is way out of giving a desirable contrast because the nylon string possesses none of the characteristics of the silver wound. So, from a mellow but dull (compared to the metallic brilliance of the wound bass) nylon 3d string the silver wound bass sounds too metallically bright making an undesirable contrast of a great gap in strict aesthetic listening criteria. So, if we really analyze it there lies the aesthetic problem of the normally used string of wound basses and nylon trebles. The great discrepancy in timber/color from the passage from 4th (wound bass) to the 3d (nylon). My metalonylon strings solve this aesthetical discrepancy.
So, when used as normal tuning the metalonylon trebles can provide great range of timber/color qualities from really bright metallic sound to romantic mellow imitating the nylon strings but they can never give the negative characteristics of nylon where in many cases the nylon reach the dull side of timber/color. The metalonylon cannot provide us a dull sound of any kind.
My nylon strings that give the possibilities to tune up to the 14th fret of the first string in frequency, which is the f''# are very bright and resonating and also they provide brilliance through the nylon material and never become dull. It is a matter of constructional specifucations in the string's vibrational mode behavior when it is actually played, how the attack on the note by the finger releases the dynamic energy converting it to kinetic and vice-versa. The molecules themselves are the basic players of the game.
That is why Smaro uses silver wound basses on the 5th and 6th, to make a good desirable contrast with the metalonylon 4th and 3d and these make a good and desirable contrast passage with the nylon 2nd and 1st. So, with this arrangement she has three different desirable timber/color zones, instead of the normal two (so, she uses a three zone timber/color differentiation) and her timber/color contrasts are rich but balanced, desirable and multi-functional under the interpreter's technical variations to justify the work being interpreted in the best possible manner.
These above details are the specific pragmatic reasons for you to say ...It's a wonderful sound....
The metalonylon string frequency range is from 4th-F (at the fourth string, third fret in normal tuning) to 1st-E.