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Combining Different Strings - Part 1

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Combining Different Strings – Part 2

THE VIOLIN CHANNEL — Fri, 29 May 2020 00:00:41 +0000

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 7 of the blog series, Franz this week offers his advice on combing different strings.

"In the first section, we explained the theory behind the combining of different strings, answering questions such as: Is it even feasible to combine different strings? What are the resulting advantages and disadvantages? And what are the five factors that play an essential role when combining strings?" Franz told The Violin Channel.

"In this blog post, we will shed light on the biggest misconceptions when combining different strings and will then answer the fascinating question of whether and how strings from different manufacturers and even different instruments can be combined."

WHAT ARE THE BIGGEST MISCONCEPTIONS WHEN COMBINING STRINGS?

One of the biggest misconceptions is the assumption that a larger string diameter leads to a higher string tension. But this is not the case. The string tension is calculated using the weight per length, i.e. the density and not the thickness of the material. A strip of silver of a certain strip thickness and width is approximately four times heavier than a strip of aluminum with the same measurements. What this means is that if you compare a silver-wound D-string with an aluminum-wound D-string of the same string tension, the silver-wound D-string is still much thinner, since silver has a higher density.

The second misconception is that thinner strings – meaning those with a smaller diameter – always have a better response than thicker strings. This is correct if the strings you are comparing have the same core and external winding material and the same string tension. However, if these properties differ, it’s no longer possible to make this assumption. The brilliance of the string also plays a decisive role for the bow response. Usually, a duller-sounding string responds better than a brilliant string, as there are fewer reflections of vibration on the bridge. Furthermore, a focused string responds better than a broader-sounding string.

Yet the crucial factors that affect the response are the core material and the outer winding material.

Now that we have clarified the fundamental prerequisites for the combining of strings, three additional questions arise:

Winding	Diameter	Bow response	Sliding Feel	Sound
Aluminum	larger	better	average	more brilliant
Silver	smaller	average	increased	average
Chrome steel	average	inferior	decreased	darker

1. Is it possible to combine strings from different product lines within one manufacturer’s range?

2. Is it possible to combine strings from different manufacturers?

3. Is it possible to combine strings from different instrument groups?

IS IT POSSIBLE TO COMBINE STRINGS FROM DIFFERENT PRODUCT LINES WITHIN ONE MANUFACTURER’S RANGE?

In the past, Thomastik-Infeld defined product lines according to their core type; for example, all products of the Dominant family have a core made of polyamide, while the Spirocore strings consist of a spiral rope core and the Precision line of a steel wire core.

Due to changing market demands, we began to combine core materials within one line of strings, in order to create brand new sound dimensions.

And it is for precisely this reason that is it indeed possible to combine strings from different product i.e. core lines with one another in order to achieve exactly that: the ideal sound dimensions and optimum handling for one’s individual needs. What is important is to take into account the above-mentioned factors, such as core and winding material, string tension, pitch stability and tonal break-in time.

IS IT POSSIBLE TO COMBINE STRINGS FROM DIFFERENT MANUFACTURERS?

Different manufacturers use different production techniques. This leads to different sound spectrums that, in turn, have a strong impact on the tonal life span when combined. If you decide to combine strings from different manufacturers anyway, it is crucial to select the correct tension. Warning: The indications for vibrating string lengths often vary between different string manufacturers, which can make it harder to compare them. Find all the details of what to look out for in our article “Vibrating string length and string tension”.

IS IT POSSIBLE TO COMBINE STRINGS FROM DIFFERENT INSTRUMENT GROUPS?

For cello and bass, the answer is clear: NO.

But it is possible for violas and violins.

VIOLA STRINGS ON A VIOLIN

Viola strings on a violin? Yes, this works. But only with the A-string.

First off: Why would anyone want to use a viola A-string on a violin? A-strings for violins are designed to emit a high degree of brilliance, whereas strings for violas sound warmer. Therefore, if the goal is to give your violin a warmer sound, you can use a viola A-string on the violin. The viola A-string also has better corrosion resistance if it is wound with chrome steel.

For a duller sound, we recommend the viola PI21 A-string (from the PI200 set), and the viola VI21 A-string for a brighter sound (from the VI200 set). All other viola strings, including synthetic viola A-strings, are not suitable for use on a violin, because the particular string tensions are much too low for the smaller instrument.

Warning: the suitability only applies to the combination of 4/4 viola strings with 4/4 violins. Conversely, 4/4 violin strings would obviously be too short for 4/4 violas. In order to use viola A-strings on a violin, it is necessary to shorten the string by around 5cm (2 inches) at the peg end. A well-sharpened string cutter is also recommended.

Of course, the correct string tension is also important. This topic has already been discussed in detail in the article “Vibrating string length and string tension”. The vibrating string length of a 4/4 violin is 32.5 cm. For a viola, it tends to lie between 37 and 38 cm on average. If you now compare the string tension of a 4/4 violin A-string with a 4/4 viola A-string, they obviously won’t match up at first glance. But since the string tension of the viola A-string was calculated for the longer mensur of the instrument, it will decrease correspondingly when winding it onto the shorter violin.

If you would like to calculate the string tension for an instrument equipped with new strings yourself, you can use the following formula:

CONVERSELY: CAN YOU ALSO USE VIOLIN STRINGS ON VIOLAS?

4/4 violin strings (32.5 cm mensur) are frequently used for 1/2 violas, as the mensur is identical for each. However, you usually need to complement this combination with a suitable viola C-string. Thomastik-Infeld offers the perfect string for this purpose: the 4/4 violin C-string VI05 from the VISION line. The same applies for a ¾ violin string on a ¼ viola. However, we currently do not have any ¾ violin C-strings in our range.

For a ¾ viola with a 34.5 cm mensur, you could also employ soft 4/4 violin strings (32.5 cm mensur). The length of the violin string should usually fit a viola too. However, the winding on the peg end of the violin G-string could come very close to the viola’s nut. Even though the mensur is different, the “soft” tension means that the string tensions ultimately match up. This means that if you usually opt for medium tension viola strings, a violin string of a “soft” tension (32.5 cm mensur) becomes a “medium” tension string on your viola (34.5 cm mensur). This should be applicable to all common violin strings (A, D, G). However, you would again have to find a suitable viola C-string in this case.

Here’s a practical example:

Using the Dominant D-string 132 with a string tension of 3.9 kg as the basis for the calculation:

NEW TENSION:

The newly calculated string tension of the 4/4 violin string for the ¾ viola thus equals the exact value listed in the Thomastik-Infeld catalog for the ¾ viola Dominant D-string:

To learn more about Thomastik-Infeld’s string science and get insider tips on how to improve your performance, visit www.stringtelligence.com!

Do you have a burning question about strings? Mail the experts at marketing@thomastik-infeld.com!

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Vibrating String Length & String Tension

Taming a Wolf Tone & Eliminating String Buzzing

Vibrating String Length & String Tension

The post Combining Different Strings – Part 2 appeared first on World's Leading Classical Music Platform.

Combining Different Strings Part 1

THE VIOLIN CHANNEL — Fri, 15 May 2020 20:42:21 +0000

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 6 of the series, Franz this week offers his advice on combing different strings.

"Combining different strings is a complex matter... for this reason, we have split this column into two blog posts," Franz told The Violin Channel.

"In the first part, we will address the following topics: Is it even possible to combine different strings? What are the resulting advantages or disadvantages? And what are the five factors that play an essential role when combining strings?"

COMBINING DIFFERENT STRINGS – IS IT EVEN POSSIBLE?

Each set of strings is developed in such a way that optimum results are ensured when it comes to sound and handling, as well as a maximum tonal life span for most instruments. The point of pitch stability and the tonal break-in time of all strings in a set are also ideally matched in order for them to achieve their best shape at the same time.

So why would anybody even consider combining strings from different product lines, manufacturers or groups of instruments instead of simply using a ready-assembled set of strings?

Every musician has their own individual conceptions. In order to be able to adjust the sound and handling to suit one’s own precise needs, one can combine strings from different product lines, meaning within the entire range of strings, but also even from different instrument groups.

WHAT ARE THE ADVANTAGES AND DISADVANTAGES OF COMBINING STRINGS?

The advantages are clear-cut: sound and handling can be adapted to fit individual needs, and the tonal balance and pressure requirements of the individual instrument can be taken into account.

However, combining strings can lead to a reduced tonal life span of the strings, and the point of pitch stability as well as the tonal break-in time of the individual strings may vary.

WHAT SHOULD GENERALLY BE TAKEN INTO ACCOUNT WHEN COMBINING STRINGS?

If one decides to combine strings from outside of the same product line, five factors should be borne in mind in order to ensure optimum results:

1. the core material

2. the string tension and gauge

3. the winding material

4. the diameter of the string

5. the point of pitch stability and tonal break-in time

THE CORE MATERIAL

Core materials can be mixed within a combined set of strings. That means that it is feasible, for example, to replace a synthetic core A-string with a steel core A-string.

Naturally, using different materials also leads to a change in the properties. Overall, the following attributes can be altered by the choice of different materials:

1.the diameter

2. the pitch stability

3. the feel under your fingers

4. the bow and left hand response

Here are some examples of the effect this can have:

If a gold-coated stainless steel violin E-string is replaced by a tin-coated carbon steel E-string, the whistling of the gold E-string is usually reduced, but the susceptibility to corrosion is increased (string becomes coarse and discolored).

If a synthetic core violin or viola A-string is replaced by a chrome-steel-wound carbon steel core A-string, the response, pitch stability and corrosion resistance are usually improved, but the tonal and musical possibilities are limited. In addition, the diameter of a steel wire A-string is always much smaller. This results in the above-mentioned improved response, but the string also feels harder.

If a synthetic core viola D-string is replaced by a chrome-steel-wound carbon steel core D-string, the same applies as in the previous example. The diameter of the chrome-steel wire D-string is much smaller. The response, pitch stability and corrosion resistance are usually improved, but the tonal and musical possibilities are thus limited. What is more, the steel wire D-string also feels harder.

If a synthetic core viola C-string is replaced by a tungsten-wound spiral rope core C-string, the same thing happens. The diameter of the tungsten-wound spiral rope core C-string is considerably smaller. The response, pitch stability and corrosion resistance receive an upgrade; however, the tonal and musical possibilities are likely to suffer. Similarly, the steel wire C-string can sometimes feels harder.

In general, for violin and viola strings, a switch from synthetic core to steel strings leads to an increase in volume and a decrease in tonal and musical possibilities.

With cello strings, a spiral core is usually replaced with a steel wire core when it comes to A and D-strings. This results in an improvement in response and pitch stability. In contrast to this, for cello G and C-strings, a spiral rope core is usually used in order to optimize the flexibility, handling properties and tonal production possibilities.

With regard to double bass strings, it used to be less common to combine different core materials. But bassists that play both jazz and classical music are now increasingly using our Belcanto strings (rope core) for their G and D-strings, and our Spirocore with a small gauge (spiral core) for their A and E-strings. They thus achieve a growl and sustain on the lower strings, i.e. the prolonged rumbling that is useful for playing jazz, while the pure sound quality required for classical bowing techniques is achieved on the higher strings.

THE STRING TENSION AND ACTION

We have already comprehensively covered the importance of string tension in one of our previous articles (see blog post “Vibrating string length and string tension”) If you have already found the ideal string tension for your instrument, you should definitely stick to it – not just overall, but actually per individual string.

If you do not yet know the ideal string tension for your instrument, the combining of different strings with varying string tensions provides a way to test this and thus reach the optimum outcome. Don’t forget: beware of overloading and underloading! In this way, not only can the desired sound quality and ideal handling be achieved, but damage to the instrument is prevented. You can find all the details on this topic in the previous article “Vibrating string length and string tension”.

Alongside the string tension, the gauge is also important for the sound and handling of the instrument. The gauge is the distance from the string to the fingerboard. Depending on the string tension, more or less force is required to press the string down onto the fingerboard. Generally speaking, instruments with a very small gauge (minimal distance between strings and fingerboard) require the use of strings with higher string tension, e.g. steel core strings, in order to achieve an ideal response and left hand as well as bowing feel (handling). If strings with a low string tension are used on small-gauge instruments, the string touches the fingerboard too fast under the pressure of the fingers or the bow, and thus is prone to rattling.

However, caution is advised when selecting a string with higher string tension! This could have the effect of overloading the instrument. An alternative that is more beneficial and healthier for the instrument is to have the gauge adjusted by a luthier.

THE WINDING MATERIAL

Different winding materials also have an effect on the following properties:

1. diameter

2. bow response

3. bow noise

4. left hand (sliding) feel

5. sound

6. volume

We have put together a short overview of the three different winding materials and their effects:

Winding	Diameter	Bow response	Bow noise	Sliding feel	Sound	Volume
Aluminum	larger	better	stronger	average	more brilliant	average
Silver	smaller	average	average	larger	average	softer
Chrome-steel	average	inferior	very little	smaller	dull	louder

THE DIAMETER

The diameter of the string affects the left hand feel and the bow response. As a general rule, thinner strings with the same outer winding material have a better response than strings with a larger diameter. Check out the list above!

THE POINT OF PITCH STABILITY AND TONAL BREAK-IN TIME

Sets of strings are put together not only on the basis of their tonal life span and properties, but also under the condition that they achieve their pitch stability and tonal development in as simultaneous a manner as possible. Therefore, if one combines strings from different families, it can take differing lengths of time until the individual strings have reached a stable pitch and have unfolded their full sound potential.

Both steel wire and steel rope core strings generally achieve pitch stability right away and thus much faster than other core materials (violin steel core E-string or viola steel core A-string). As a result, they can be easily combined with other strings when it comes to the point of pitch stability.

This is not to be confused with the tonal break-in time (= the time a string needs until all tonal colors have fully developed and the metallic sound component and background noise have disappeared), as this can take significantly longer with steel wire strings. This means that even if all 4 individually combined strings of different product lines have already reached pitch stability and can be played smoothly, they may still require varying amounts of time until all of them have unfolded their full sound potential.

In the second part of this post, we focus on the most common mistakes when combining strings and clarify the question of how to safely combine strings from different manufacturers and even different instruments to achieve an ideal result.

To learn more about Thomastik-Infeld’s string science and get insider tips on how to improve your performance, visit www.stringtelligence.com!

Do you have a burning question about strings? Mail the experts at marketing@thomastik-infeld.com!

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Taming a Wolf Tone & Eliminating String Buzzing

The post Combining Different Strings Part 1 appeared first on World's Leading Classical Music Platform.

Vibrating String Length & String Tension

THE VIOLIN CHANNEL — Fri, 10 Apr 2020 15:38:19 +0000

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 5 of the series, Franz offers insight into vibrating string length and string tension.

HOW IS THE VIBRATING STRING LENGTH DEFINED?

The “vibrating string length” of a string instrument is the distance from the inside edge of the bridge to the inside edge of the nut. The vibrating string length must not be confused with the body length. This is important for selecting the right strings and consequently for selecting the right string tension, in order not to over- or underload the instrument’s soundboard, because both the physical shape of the instrument as well as the sound and character of the strings can suffer as a result. Only by choosing a string tension appropriate to the instrument can optimal sound and haptic properties be developed for musician and tool.

- In the case of violins, the vibrating string lengths are between 32.5 cm and 32.8 cm on average.

- For violas, there are no clearly standardized relationships (norms) between body lengths and vibrating string lengths. It is possible to have a small body with a long vibrating string length or a large body with a short vibrating string length. However, on average, vibrating string lengths for violas are between 37 cm and 38 cm.

- Cellos essentially have vibrating strings lengths of around 70 cm. Thomastik-Infeld® also indicates the vibrating string lengths for cello strings at 70 cm.

- Compared to violins or cellos, the sizes and proportions are much less standardized for double basses. The current standard size is the 3/4 size, which corresponds to a vibrating string length of 103-106 cm. For a 4/4 double bass, a vibrating string length of 106-110 cm is usual, but there are also instruments outside this range.

WHAT IS THE STRING TENSION?

The string tension or the weight force is the force that must pull on a string in order to generate the desired tone for a specified vibrating string length (VL). This force is essentially calculated and indicated using the physical unit of the Newton. However, for easier comprehension and improved user-friendliness, the Thomastik-Infeld® catalog shows the string tension or the weight force (Newton) converted to a mass (indicated in kg or lb, 1 kg = 2.20462 lbs) that must pull on a string to achieve the desired string tension or weight force and thus the desired tone.

HOW DO FREQUENCY, VIBRATING STRING LENGTH, AND STRING MASS AFFECT THE STRING TENSION (WEIGHT FORCE)?

The “Taylor’s Formula” describes the relationship between the string tension F (weight force) of a string depending on the string mass m, the frequency f (pitch) and the vibrating string length VL. The string tension is quadratic both to the change in frequency as well as the change in vibrating string length. If the string is tuned only a little higher, the string tension and thus the pressure on the instrument’s soundboard increase disproportionately. The same applies to the change in the vibrating string length. It is therefore very important to select the right vibrating string length for the instrument. The string tension indicated in the Thomastik-Infeld® catalog (converted into kg or lb) refers to the respective vibrating string length, which is also shown in the catalog.

ARE THE INDICATED VIBRATING STRING LENGTHS THE SAME FOR ALL STRING MANUFACTURERS? WHAT SHOULD BE TAKEN INTO CONSIDERATION?

The indicated vibrating string lengths often vary between different string manufacturers, which can make it harder to compare them. Take the data for cello strings, for example. Thomastik-Infeld® uses a reference value of 70 cm for the vibrating string length of cello strings. For this vibrating string length, the required attached mass of the Alphayue® Cello A-string is 17.7 kg (as indicated in the Thomastik-Infeld® catalog). Another string manufacturer indicates a vibrating string length of 69 cm as the reference value for calculating its cello strings. For its indicated vibrating string length, the required attached mass for this A-string is 17.6 kg. At first glance, it would appear that this product requires a smaller mass to tune the string to an A; in other words, this string would seem to have a smaller string tension. However, converted to the vibrating string length of 70 cm, this product needs a mass of approx. 18.1 kg. This means that for the same vibrating string length, the Alphayue® Cello A-string has less string tension, namely 17.7 kg.

When selecting the right string, the goal is not only to improve the sound and handling but also to retain or improve the instrument’s good condition. An incorrect string tension can exert both too much and too little pressure on the instrument’s soundboard.

HOW DOES THE STRING TENSION AFFECT THE SOUND AND INSTRUMENT?

The string tension is an important parameter for an instrument. It defines the force required to tune the strings to the basic tones for a certain vibrating string length. The string tension exerts a certain pressure on the soundboard of the instrument:

In other words, about 42 to 45% of the total string tension apply pressure to the bridge. The instrument’s sound can unfold best when the right string tension is chosen and the pressure on the soundboard and structure of the instrument is thus ideally balanced.

As already mentioned, an incorrect string tension can lead to over- or underload: the latter results only in a loss of sound, while an overload can also cause the instrument to become permanently damaged.

- When strings sound somewhat nasal or very metallic, this can be a sign that the instrument is underloaded, which means there is too little pressure on the soundboard. A string with insufficient tension can also feel harder under the fingers when playing. The many reflections of vibrations on the bridge, which feed back into the string, are the physical reason for this.

- In the case of overload, the instrument reacts immediately, mostly sounding darker and broader. Brilliance and timbre can reduce considerably, causing the instrument to lose the necessary overtones and a portion of the metallic sound component over time. It can then sound hollow and trumpet-like. Overload also reduces the tonal life span of the strings, which continues to shorten each time a new set of strings is mounted onto the instrument with the same string tension. In addition, the strings often also feel softer under the fingers.

In contrast to underloading, overloading can cause long-term damage to the instrument.

There are two different and serious phenomena to consider here:

The soundboard can exhibit orthotropic linear viscoelastic behavior due to the overload. A smaller overload (from light to medium, for example) causes the soundboard to sink, but it can recover again completely and reverse the behavior in the long term.

The more serious case is an overload exhibiting orthotropic non-linear viscoelastic behavior. Here, the instrument is extremely overloaded (from light to heavy, for example) and the soundboard can sink irreversibly. A solution in both cases would be to temporarily underload the instrument – this can last for up to 6 months. So by changing to strings with a lower string tension, the soundboard can recover again and mostly reacquire its shape, allowing the sound to unfold optimally once more. Initially, this often produces a nasal and brighter sound because, as already mentioned, the instrumented is now underloaded in this setting. However, if the optimal string tension has been selected, this sound phenomenon will pass, the soundboard can reacquire its shape, and the sound can unfold optimally for the long term. This requires patience but persisting with the use of inappropriate and excessively high string tension will continue to damage the instrument’s body.

You would do well to seek the advice of an expert, as each instrument is different, and its rehabilitation can be a long journey.

To learn more about Thomastik-Infeld’s string science and get insider tips on how to optimize your performance, visit www.stringtelligence.com!

Do you have a burning question about strings?
Mail the experts at marketing@thomastik-infeld.com!

PREVIOUS:

Taming a Wolf Tone & Eliminating String Buzzing

The post Vibrating String Length & String Tension appeared first on World's Leading Classical Music Platform.

The Importance of Rosin

THE VIOLIN CHANNEL — Tue, 24 Mar 2020 04:27:26 +0000

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 4 of the new series, Franz shares his knowledge of the importance of rosin.

Why is rosin so important?

Often, the importance and effects of rosin and its possibilities are underestimated. Without the best rosin, suitable for the played strings and season, it is hardly possible to fully exploit the sound potential of your instrument. The reason is simple: strings don’t work without rosin! Only when there is sufficient friction and adhesion between the bow hair and the string, a bow can make the string sing.

How does rosin work?

The basis of rosin is resin, a sticky, viscous substance from trees. To produce rosin, resin is normally obtained from pine, fir, nut pine, spruce or larch trees. Through distillation and refinement with high-quality ingredients, an optimal rosin is then created. A typical violin bow is strung using horses’ tail hairs, although synthetic hairs are increasingly being used on bows. When playing, these bow hairs slide over the string and produce heat. This heat melts the rosin. As soon as it recools, it sticks the bow hair to the string. The bow hair then moves with the string until the force equilibrium is exceeded. When this happens, the bonded area of “hair-rosin-string” breaks open again and the string vibrates back in the other direction. This action produces more heat, the rosin melts and the process starts again. This action is known as the “stick & slip effect”. Rosin allows the bow hair to grip the string without sounding too hard and coarse. At the same time, it has a direct influence on the response of the bow and can alter the sound of your instrument significantly – this makes it essential for your play!

A bow and rosin rendezvous

Normally you don’t need to apply rosin every time you practice. Listen to your instrument! There are inherently very clear signals of when rosin is required: too little rosin leads to poorer or more indirect bow response and can also intensify the whistling of the E-string and the wolf tone. On the other hand, too much rosin makes it difficult to move the bow smoothly and seamlessly and results in a scratchy tone. But don’t worry, you’ll quickly find the right balance. When applying rosin, it is important to slowly draw the bow hair over the rosin. Otherwise, the rosin will melt onto the bow hair during this process due to excessive frictional heat. This can lead to individual bow hairs sticking to other bow hairs and intensifying the bow noise as a result. This also happens during your play. For this reason, we recommend carefully combing the bow hair using a soft toothbrush approximately once a week.

Bow noise - where does it come from?

The gritty bow noise results from the individual bow hairs loosening from the string at different times. When detaching, each hair makes a separate clicking sound and the sum of these clicks ultimately produces the bow noise.

Match and mix it

Today, rosin is available in a multitude of compositions and in different degrees of hardness and stickiness. Thomastik-Infeld offers 17 different rosins for various product lines suitable for individual playing styles and local climatic conditions. This is because factors such as temperature deviations and air humidity also play a major role when selecting rosin and bow hair.

Can I mix rosin? What should I pay attention to?

The general rule is this: the larger the instrument, the stickier and softer the rosin. For example, violin rosin is harder and somewhat less tacky, viola rosin on the other hand is softer and sticks to the string more. Sometimes it can be helpful to mix different rosin, but they should have the same basis of resin. For example, Thomastik-Infeld’s Peter Infeld and all Vision rosin are pine resin based. However, over the course of many years, we have mixed these products with rosins based on other resins without ever having noticed a negative effect.

A couple of tips and tricks:

- In very dry and / or cool conditions or with poor bow response, it can be helpful to mix viola and violin rosin, for example Thomastik-Infeld’s Peter Infeld violin and Vision viola rosin, which are perfect for all Peter Infeld, Vision and Vision Solo strings. The ratio can be 1 part viola and 1 part violin (e.g. one stroke of viola rosin and one stroke of violin rosin).

- If someone is in search of an increased bow noise and therefore often a better projection, then we recommend increasing the proportion of viola rosin.

- For better bow response and to improve the whistling of E-strings, we also recommend increasing the ratio of viola rosin.

- In hot temperatures and high air humidity, we recommend using harder rosin, i.e. violin rosin. You should pay special attention if you travel a lot, thus ensuring that you carry various types of rosin.

- For violas, you can mix viola and cello rosin at a ratio of 1:1, while for cellos, it should be cello and bass rosin mixed at the same ratio.

Can rosin go bad?

We recommend changing rosin after approximately 6 to 8 months as it tends to dry out after a while, its ethereal oils, that are crucial for good rosin, evaporate and the rosin’s properties change as well. For your rosin always being ready to use, rub the surface of a new rosin with fine sandpaper before using it for the first time (and every week after that). Use 400 grit sandpaper to slightly sand off the dry surface of the rosin until you can smell the ethereal oils again. This characteristic aroma means: Your rosin is as good as new!

To learn more about Thomastik-Infeld’s string science and get insider tips on how to optimize your performance, visit www.stringtelligence.com!

Do you have a burning question about strings?
Mail the experts at marketing@thomastik-infeld.com!

PREVIOUS:

Taming a Wolf Tone & Eliminating String Buzzing

The post The Importance of Rosin appeared first on World's Leading Classical Music Platform.

Taming Your Common Violin E-String Issues

THE VIOLIN CHANNEL — Wed, 19 Feb 2020 21:39:32 +0000

The Violin Channel recently caught up with Thomastik-Infeld string manufacturer’s Director of Engineering and Technology, Mr. Franz Klanner.

In part 3 of the new blog series, Franz this week offers his recommendations for taming your common violin e-string issues.

WHAT ARE THE TYPES OF E-STRINGS?

In principle, there are two types of E-strings: wound and unwound.

Unwound E-strings

The wire materials for unwound E-strings are either chromium-nickel steel or carbon steel.

E-strings with a core of carbon steel have an exterior tin coating. To avoid corrosion, Thomastik-Infeld normally incorporates one or more protective metal layers as well. These strings are known as multi-layer strings.

Chromium-nickel steel is also often known as chromium steel, non-corroding steel or simply stainless steel. Although chromium-nickel steel contains nickel and chrome, among other substances, this material triggers virtually no allergies. Chromium steel strings are extremely resistant to corrosion, so can also be used without any coating.

If they are still coated to define tone or handling properties, gold, platinum, titanium and molybdenum are used as the external material. Coatings made of palladium and rhodium are also possible. These surface materials are very often used for jewelry.

Wound E-strings

Wound E-strings normally have a carbon steel core. This is wound with thin flat strips of chromium steel, titanium or aluminum. The winding makes the string sound darker, improves the bow response, changes the torsion rigidity and therefore also prevents whistling.

Different materials have different effects on the tone and whistling of the E-string. The following graphic shows which E-strings are characterized by a brilliant, clear tone, which whistle less or also sound darker and more focused:

POSSIBLE PROBLEMS WITH E-STRINGS

Whistling E-strings are a well-known and frequent problem. The material of the string itself has a major influence on the whistling of the E-string, but the player’s bow technique and the condition of the rosin and bow hair can also play a significant role. In addition, an E-string’s tendency to whistle depends heavily on the individual instrument.

WHAT TO DO?

To reduce a whistling E-string, we recommend mixing violin and viola rosin together as a first step, as viola rosin is firmer and this combination allows a better bow response. Two strokes each of viola and violin rosin can really reduce the whistling.

The sleeve on the E-string can also make the string sound warmer, as well as minimizing or increasing the whistling. For this reason, we recommend trying both options. Thomastik-Infeld includes a small envelope with this sleeve on many E-strings.

The string tension also has a massive influence on E-string whistling. If you play an E-string of average tension, we advise that you use a string of the same string type with less tension. If the whistling increases as a result, you should try a higher string tension.

Of all the types of strings, gold-coated strings have a particular tendency to whistle with their pronounced brilliance. The platinum-plated E-string PI01PT, which is available in the Peter Infeld Set PI100, is a good compromise between tin coated and gold coated E-strings, as it whistles less in comparison with the gold coated strings but has a similar response. We also recommend this string for soloists who play in large halls and for weaker instruments, as it has a high brilliance with the maximum tonal strength and warmth.

FIFTH IMPURITY AND CORROSION

In some cases, E-strings can lose their fifth purity. The cause of fifth impurity is when the mass is not spread uniformly over the length of the string. Thus, when playing, the tin layer wears out unevenly due to wear and tear on the fingerboard and the string can become coarse on the surface. However, this can also happen as a result of sweaty hands.

Multi-layer E-strings, for example, the Peter Infeld PI01SN E-string (in Set PI101) or the Vision E-string VI01 (in Set VI100) have a thinner tin layer, making them less prone to becoming impure on the fifth. They are also more resistant to corrosion. The surface of these strings still becomes rough in the short term due to sweaty hands, but, by playing continually over a number of days, this normally becomes smooth again without suffering any loss of quality.

In general, pure chromium steel strings or chromium steel strings that are coated with gold, platinum or titanium, as well as strings that are wound with chromium steel or titanium are very resistant to corrosion.

RATTLING OF THE E-STRING

A further phenomenon of E-strings is rattling. This is caused by an uneven distribution of the inner tensions of a string. The rattling mainly affects chromium steel strings, but also tin-coated E-strings. If an E-string begins to rattle, we recommend replacing the strings.

EXCESSIVE BREAKING OF THE E-STRING

Sometimes, E-strings break off at the loop end, the bridge or the peg. This is due to the fine tuner hook becoming sharp-edged over time. A luthier can help here, using his or her expertise to round off the fine tune hook. Another option for preventing the breaking of E-strings is to move a sleeve over the fine tuner hook. However, the pitch stability can suffer here. Should this be unsuccessful, we recommend using E-strings with a ball-end. Thomastik-Infeld includes a small envelope with this sleeve on many E-strings, which can be pressed into the loop, if necessary. If the string breaks off increasingly at the bridge or pegs, we recommend that you get the grooves checked by a luthier. Adding a lot of graphite to the groove also has a positive effect.

To learn more about Thomastik-Infeld’s string science and get insider tips on how to optimize your performance, visit www.stringtelligence.com!

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