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E strings

From Wangchen Long
Posted July 9, 2011 at 12:01 AM

 I have been using the Goldbrokat for years, but recently experimented with Evah Pirazzi's Gold E and Pirastro Gold Label E and like the later the best.  It seems to give a warmer tone and fits my violin.  Of course personally I love a warmer sound, as I like Pirastro Olive and Euroda strings...

Though the instrument and personal preferences play a big role, it would be interested to see what other prefers as the E string.

I don't have any experience with the Pirazzis yet, but the Gold Label E, which you mentioned, has pleased me well on my three older instruments.  With each one, I definitely get the warmer sound I'm looking for.

Still, with so many individual tastes and preferences, who knows?  Someone else might pick up my instruments and try them out and not like the results with my setup.  Of course, as I'm sure you know, a player's touch makes a difference.

I tried Vision regular or solo -- I'm sure it was one of the two -- in 2005.  It did well here.  No experience yet with Olivs.  I seem to recall trying the Goldbrokat in 2005, but I don't recall offhand what result I got from it.

I definitely tried the Jargar Forte E the same year, 2005, with Dominant A-D-G; but this E a bit too strong and penetrating for me with the Dominants and the instrument I used in on, so I gave it away to a v.com member who had already had good results with the Jargar.

Most of my string experience so far is with the Pirastro group.  The Eudoxa wound E gives a nice sound on all my instruments, but I prefer the greater sheen and brilliance I can get in higher notes by substituting the Gold Label E.  This E and Eudoxa A-D-G -- stiff D-G -- give me what I want on two instruments -- a viola sound in low notes and a warm brightness in high tones.

The third fiddle pleases me well with Wondertone Solo E-A-D and Eudoxa G, stiff version once again.

Here are some E strings mentioned repeatedly in this forum:

• Pirastro Gold Label
• Jargar Forte 
• Goldbrokat
• Passione
• Hill
• Westminster

Since the E string is temperamental and inexpensive, the best way is try them all and see what you like on your instrument.

Sometimes I wonder if there is actually only one kind of (steel, unwound) E-string - and lots of different coloured packages and winding.

Its well established, just ask Buri, that the original E string steel wire was developed for cutting the very hard parmigiano cheese in northern Italy...

I believe that Evah Pirazzi Silvery Steel E is the same as the E in Passione and Wondertone Solo sets, but each E on the list above produces a distinct sound on my violin, so I'm pretty sure they are not the same.

Keep in mind that not all steel is equal - some types of steel have more carbon, resulting in a stronger but stiffer alloy, and some have less - resulting in the opposite. Add to the mix that some steel e-strings have small amounts of chrome or tin in the alloy, which improves corrosion resistance. Examples would be the Jargar e-string (chrome) or the Tzigane e-string (Tin).

That is to say, even with just unwound steel E-strings, there is enough variety that saying they're the same is as much a fallacy as saying all plain gut strings are the same, or that all nylon-core strings are the same.

As for an e-string that sounds "warm," I prefer the Goldbrokat medium gauge over everything else I've tried, on both of my violins. This string list includes:

Pirastro 'Passione' silvery-steel E, heavy gauge

Jargar's Chrome-plated E, heavy gauge

Larsen's 'Tzigane' Tin-plated E, medium gauge

Lenzner Goldbrokat E, heavy gauge

Pirastro's "Universal No. 1" steel-wound-on-steel E, medium gauge

Pirastro 'Olive' gold-plated E, medium gauge

I find that while the medium Goldbrokat is quite edgy and bright at a close distance, it isn't by any means shrill and the projected tone sounds warmer than that of the other strings. For instance, the Jargar forte E sounds a bit warmer to me at a close distance, but on recordings it's the Goldbrokat that produces the most vibrant and warm tone. I've found the Universal No. 1 to be a moderately close second, though it lacks the power and edge of the Goldbrokat on my instruments.

[Jeifei  - I was just having a tongue-in-cheek moment.  And as far as I am aware, there is no evidence that E strings were originally for cutting cheese either;) ]

I agree with Jiefei, the .26 gauge Goldbrokat is extremely warm sounding on many violins.

A violin that was loaned to me once came strung with Evah Pirazzis and a Pirastro Universal E; I swapped the E in favor of my usual medium gauge Gold Label, which didn't work at all, it sounded pretty much dead; I then exchanged it for a medium gauge Goldbrokat. Still dead. I switched back to the Universal E and it sounded awesome again (I guess that's why whoever set up the violin put it there); it was one of the warmest E strings on any instrument I had played.

E strings were originally for cutting cheese

Maybe there is hope for Dominant E strings having a purpose? :^)

"E strings were originally for cutting cheese

Maybe there is hope for Dominant E strings having a purpose? :^)"

I assumed so since they tend to stink.

... and G strings were originally used for? :)

I had several friends who went on the trip and one of the things I heard from several of them was that the cellist carried a (wire) cheese cutter that he used to keep his fingers in shape. At least two of my friends demonstrated a motion I knew to be vibrato.

So cheese cutter indeed.

However, when I do need more projection, I change to a plain steel E, with a Chromecore Eudoxa A to match the E better.

Simon, you have hit the nail on the head! I have always advocated a progressively longer, lighter stroke as we pass from low to high strings.

As I am now waiting for the men in white coats anyway, I shall also admit to prefering the Dominant A on my viola! I like all my high notes to have a silk-like sheen, rather than a chromium-plated glare. If it's beautiful, there is no need to scream, and if it's not beautiful, there's no need to scream either..

Adrian: Yes, much bowspeed is good, but what do you do when facing legato fortissimo up there!? I had the problem once and since then Eudoxa middle is not useful for me anymore, maybe for bach solo, where it stays first position most of the time.

Elise, when I do put on a harder E, my more sensitive pupils wince! And it's not just my heavy-handed viola bowing arm..

The main disadvantage of the gut E is that it doesn't last long - perhaps two to four weeks for most, six weeks if you're lucky. This may be significant for those who are not baroque specialists.

Btw, I've never had a gut E break on me - after a while it starts to fray and when the fraying becomes unacceptable under the fingers and tonally then the string ends its days tying plants in the garden. I'll have to try a laquered E sometime to see if they last longer.