Double Bass Why does string tension (generally) increase on lower strings?

Scott Lynch

Scott Lynch

Supporting Member
Nov 27, 2002
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#1
Hi TBers. I've been pondering this question for a bit.

I know it's not universal, with even tensioned sets such as Velvets, and sets where the G is the highest tension string. In general, though, I wonder why there are so many sets where the lower strings are designed to have a higher tension when strung up to pitch. Bow response? Volume/tone matching between strings?

On a personal note, I have been experimenting with new strings on my Shen Rogeri, which I have had for about a year. It came with Evah Weichs, which were a nice change from playing a ply strung up with spiro mittels for a number of years before that. I put on a set of Zyex mediums about three weeks ago, and am liking them quite a bit as they continue to break in, though I feel like, as with the Evahs, there is something in the back of my mind telling me to try heavier strings on E and A. The Es and As I've had didn't seem to have enough heft to them. Long story short, a spiro mittel E and A are on the way.

As an example, the spiro mitt bottom/something else on top is a combination I've seen fairly often in my many recent searches as I've read about different experiences with strings, and the top strings typically seem to be of lower tension relative to the mitts. Is this just a coincidence because of tonal preference, or is there something to basses (often, but certainly not always) responding to beefier lower strings?
 
#2
It seems to be like this:
Thomastik-Infeld tends to increase the tension on the E string orchestra sets, except for Bel Canto, competing with Pirastro.
Thomastik-Infeld tends to keep the solo sets tension uniform.
Pirastro tends to do the opposite: lighten the E string for less inertia and more uniform arco response.

I'll take my dead Spiro E string heavier to "dig in" more for jazz pizz.
 
#6
iiipopes said:
It seems to be like this:
Thomastik-Infeld tends to increase the tension on the E string orchestra sets, except for Bel Canto, competing with Pirastro.
Thomastik-Infeld tends to keep the solo sets tension uniform.
Pirastro tends to do the opposite: lighten the E string for less inertia and more uniform arco response.

I'll take my dead Spiro E string heavier to "dig in" more for jazz pizz.
Click to expand...

Right on. I did some more research after the fact and noticed that my observation was based on limited data - TI, and D'Addario, seem to increase tension on lower strings, but yes, I noticed that Pirastro does have a significantly difference string tension concept going than the others - it's for more uniform arco response? That's interesting. Since switching from the Zyex to the S42 mitt A and E I've noticed that those strings feels a little stiffer to start, though I still prefer the arco response of those strings quite a bit to the Zyex on my bass. I had a hell of a time with the Zyex, E, and especially A with the bow, though they were very nice for pizz.

KUNGfuSHERIFF said:
That's odd. Who did the setup? I'm having trouble wrapping my mind around the concept of a Rogeri Willow lacking low-end heft. The one I had sounded like a foghorn.
Click to expand...

My Rogeri is a rare bird - a 200 series with a maple back and sides. I bought it from Mark Leue last year. I think the setup is pretty good - the pizz sound is wonderful on this thing, and barring some technical issues with the bow I like the arco sound quite a bit as well. And yes, it is loud as hell. It was quite a treat, coming from playing a ply for a long time before that, to hear this thing hold it's own unamplified in duo/trio settings.


My particular challenges with my arco sound - I come from a background of brass instruments, then BG, then (mostly) jazz upright - generally are things I discover more and more due to my lack of bow skill and experience. I also recently discovered, however, that the bow I've been using for years is extremely tip heavy, which has definitely contributed to some of my challenges with the bow. The Glasser fiberglass I have been borrowing from a friend has been an improvement. I have a couple of bows coming in next week on trial. We'll see if they make a difference.

I'm starting to realize there's a whole lot more to this thing than just string tension. Material (I think I prefer steel), the instrument, the bow, technique, is all interdependent. It still would be interesting to know what different players preferences are - how much string tension plays into a player's preference, or whether another factor, like material, or the limitations of a particular preferred make of string, play into that decision.
 
#8
KUNGfuSHERIFF said:
The Glasser braided carbon fiber bows are better than the name implies. The German one is a bit big but not bad.
Click to expand...
He said fiberglass, not carbon.
But even the german fiberglass Glasser that I got used with black hair with my Clevinger EUB on Ebay isn't so bad used on my acoustic double bass.
Only the frog is a bit high. Finding a double bow case where it fits was a bit complicated.
 
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