Double Bass Thomastik String Gauges

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TroyK

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Austrian String maker Thomastik Infield makes some of the most popular doublebass strings and has been at it for a long time. Though the last 2 decades have brought us a bevy of excellent alternatives, Spirocores are generally considered the gold-standard for metal jazz strings. It is a blessing and a bit of a curse that they have more practical gauges than any other string and there is neither nomenclature nor physical markings sufficient to explain them. So, here's a sticky-quick-guide to Spirocore and other Thomastik strings for 3/4 doublebasses:

Q: So, I have a 3/4 bass (or 5/8ths) how many Spirocore gauges are there?
A: The simple answer is - 7, assuming that you tune in 4ths to orchestral pitch.They are in descending order from heaviest to lightest:
  1. Stark
  2. 3885 Mittel (intended for 3/4 basses)
  3. S42 Mittel (intended for 4/4 basses, but anecdotally the most commonly used gauge for jazz in the US. If you have red silks on both ends and you aren't sure what gauge, this is most likely.)
  4. 3885 Weich (intended for 3/4 basses)
  5. S42 Weich (intended for 4/4 basses)
  6. 3885 Solo - tuned to orchestra pitch
  7. S42 Solo - tuned to orchestra pitch
If you want to tune to solo pitch, your options are 6 & 7 above

They also make Spirocores for 1/2 and 1/4 sized basses

They also make a 5ths tuning set (Red Mitchell Set) in both 4/4 and 3/4 lengths

So, that is technically 11 different sets of Spirocores, 7 of which can be and are used on roughly 3/4 sized basses tuned in 4ths to orchestra pitch.

If you have a 7/8s or 4/4 bass, presumably you are limited to the S42 sets.

The only real way to tell the difference between an S42 set and the corresponding 3885 set without the packaging is by measuring the length. Easiest if you have both sets and can just compare them, the S42s will be noticeably longer. Strung up on the same instrument, the 4/4 sets will be lower tension than the corresponding 3/4 set.

Q: What about Belcantos?
A: Belcantos are well regarded strings favored by orchestra section players. They make an orchestral and a solo set. If you are inclined to tune solo strings to orchestra pitch, then technically that is 2 gauges. There is no "Stark, Mittel, Weich" with Belcantos.

Subjectively Belcantos seem to be closer in gauge to Spirocore Weich gauges than Mittel gauges.

Q: Isn't there something called "Superflexibles"?
A: Yep, they have sky blue windings and feel a bit like Spirocores. They are brightish, but allegedly a bit more arco friendly. This model is not currently enjoying it's heyday as more people seem to be warming up to the idea of arco on Spirocores and since the introduction of Belcantos, which are also usable as a hybrid string.

Like Belcanto, they do not offer Superflexibles in "Stark, Mittel, Weich" iterations, but they do make 4/4, 3/4, and 1/2 sized versions in orchestra tuning and 4/4 only for solo tuning. So, technically 3 of those could be used on a 5/8 or 3/4 bass.

Opposite of Belcanto, they are closer to "Mittel" gauge than "Weich" compared to Spirocores.

Q: Dominants?
A: Dominants have been around for a long time and have a synthetic (perlon maybe?) core and chromesteel winding. They pre-date Obligatos, Evah Pirazzis, and the other mixed materials strings that have gained in popularity since Y2K. Since Jean-Luc Pizzicateau's tragic passing in a fiery rosin factory explosion, they are only used by @Chris Fitzgerald, who swears that they don't break!

They are available in orchestra and solo tunings only. I'm unclear if anyone tunes the solo versions to orchestra pitch, but sticking with our convention, that makes 2 options for 3/4 basses.

Q: Well hang on a second, what about PRÄZISION strings?
A: Hey, watch the 'tude, I wasn't finished yet! Thomastik markets them for student instruments. They are a bit cheaper. A few forum members have some nice things to say about them, but they don't seem to be discussed as an alternative for professionals to Spirocores or Belcantos. They might work best on your bass or for your tastes, though.

They are available in orchestra and solo tunings for basses 4/4 and smaller and also in 1/2 size.

Q: Can I use 1/4 or 1/2 size strings on my 3/4 bass?
A: No. You may not.
 
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They are available in orchestra and solo tunings only. I'm unclear if anyone tunes the solo versions to orchestra pitch, but sticking with our convention, that makes 2 options for 3/4 basses.

I've definitely heard more than one person say that Dominant solos tuned to orchestra pitch are a great hybrid string. No personal experience on my part though...

And for the record, Dominants were my favourite strings for a long time (still have a bass strung with them actually), so Chris Fitzgerald isn't totally alone in his choice :)
 
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Q: Dominants?
A: Dominants have been around for a long time and have a synthetic (perlon maybe?) core and chromesteel winding. They pre-date Obligatos, Evah Pirazzis, and the other mixed materials strings that have gained in popularity since Y2K. Since Jean-Luc Pizzicateau's tragic passing in a fiery rosin factory explosion, they are only used by @Chris Fitzgerald...

Not true. Joel Quarrington and @bassmanbrent use them, too. :eyebrow:
 
thanks for the overview of Thomastik strings. i just put on a set of spirocore kunstler-seilsaten weich (fur orchesterstimmung) that a friend passed on to me. they sound a bit metallic to my ears at the moment, but more growl than the perpetuals that just came off.
why is 'orchestra pitch' part of a string description? i've read about tuning systems and the history and evolution of tuning standards, stretched octaves, equal temperment, ... but i don't know what the difference is between orchestra tuning and regular jazz bassist tuning? don't we all use A=440hz?
 
Get my Excel file from my Dropbox for comparison of string tension at the same scale. That includes fractional size strings and the vibrating string length of the instrument can be defined there too.
The link is in my signature or in one of the string stickies.

Strings for shorter scales can have a higher tension than strings for longer scales when mounted on the same scale length. The missing mass due to the shorter string needs more mass per length unit on the string for the shorter scale.
So best have a look at the Excel file.
You will also find the tension of solo strings there including the tension when downtuned to orchestral pitch.

A last remark:
Steel core strings (in general) are harder to press down on the fingerboard than gut or synthetic core strings. If the string height is as low as possible or practicable, then a stretchier string might be a solution. For a first try to lower tension synthetic core strings give Innovation Polychromes a try.
 
Regarding Gauges (Not tension, not length)

Here's what was on-record for several gauges. I've measured 3885 Weichs at tension on my bass with my calipers, so not factory answers like, presumably the others. Also worth mentioning that they were measured in mm and converted to inches to match the other numbers.

Stark:
.117
.090
.065
.054

3885 Mittel


S42 Mittel
.111
.085
.070
.052

3885 Weich
.111
.079
.066
.047

S42 Weich
.107
.079
.063
.046

S43 Solo
.103
.076
.061
.046
 
And just as a reminder, there is actual tension, and there is also Nnick Lloyd’s aptly described “perceived tension”, which refers to the perception of tension on the part of the player and takes into account the stiffness of the string. Based on this, the stark D will be perceived as more tense than the 3885 mittel. As always, EEMWCB.
 
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I think there is more to perceived tension than real tension and stiffness (and don‘t forget that stiffness can be reduced when tuned to pitch if itthe stiffness comes from the close laying windings when the core stretches under tension and the windings spread with it).

A major influence is from the stretchability of the string core. If you pluck the string, you make it longer. For a string with low stretching you raise the tension more with the same amount of elongation (pluck distance) than with a string with an easier stretching core.

And don‘t forget that the movability of the top has a large influence too, not that I can explain that really, but otherwise a setting should behave the same way to a player regardless of the instrument (with the same scale).
 
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