Thoughts on my string combination?

Edited: April 11, 2019, 9:50 AM · Evah pirazzi gold D
Evah Pirazzi heavy D
Evah Pirazzi heavy A
Westminster E

Replies (16)

April 10, 2019, 8:19 AM · You'd probably be just as happy with a matching set. Did you really try every combination and somehow decide that these exact strings in this exact order make your violin that much better?
April 10, 2019, 9:02 AM · Why do you ask?
April 10, 2019, 11:24 AM · I have another solo concerto coming up. Looking for something different
April 10, 2019, 12:02 PM · Your combination certainly sounds interesting!
April 10, 2019, 12:04 PM · Hi Alex,
Strings aren’t one size fits all, some strings that sound good on one violin may sound terrible on another. If you like how the strings sound, I personally don’t see any issue with your setup.


April 10, 2019, 1:02 PM · What Brock said. Since we cannot hear your violin, we really cannot advise you. I hope it works well for you. The only comment I have is that Obligatos are quite warm while Evahs are quite bright. So, I wonder, ....
April 10, 2019, 1:31 PM · Can you give us some reason why you picked this particular combination? I could make some wild guesses - the first of which would be that they were the only ones you had left in your string box.. :)
April 10, 2019, 2:38 PM · I can’t imagine an obligato string would pair with an Evah Pirazzi string. They are complete opposite in tone and projection.
Edited: April 10, 2019, 2:45 PM · I too am curious as to what your rationale is for this selection of strings. What are you trying to achieve?
April 10, 2019, 3:05 PM · It's OK-let him explore.

But as I have stated in all of his "solo rep" threads, the best "solo" tool is an excellent bow arm, not strings. Nothing against Obligato, EP, EP Gold, ot Westminsters.

We cannot know for zure what his violin "needs", as it's his own, and we have no idea how he plays.

Edited: April 11, 2019, 5:04 PM · (EDIT: I wrote this response when the post was about Obligato G, EP Gold D, EP A, and Westminster E.)

It's weird and doesn't make any sense, and has a mix of tensions and response characteristics that will probably be difficult to deal with, and which won't really suit any normal adjustment of the violin.

If the goal is to decrease tension with each string, I would go with whatever E string you want, and Evah Pirazzi Gold on all the other strings. Use the high tension A, medium tension silver D, and low-tension G. But I'm not sure if that's really necessary. You could just use EPG Gold medium on all strings (other than maybe E), with the silver D and G.

April 11, 2019, 9:50 AM · Please scroll to the top. I believe this is what I'll be experimenting with
April 11, 2019, 11:02 AM · Well, you asked for feedback. My feedback is that this combo doesn't make very much sense at all. Good luck with it. It's your money. :-)
April 11, 2019, 11:37 AM · The medium Evahs are already higher tension than most, I would be concerned if your instrument can handle it. Have you tried medium? Evah Gold with regular Evah Pirazzi isn't too strange, and I have used Westminster with EP successfully.I'd start with medium tension on all strings, if not light. Light EP is on par with most other synthetics in tension. If your G isn't way brighter than the others, I'd get EP on it instead. Usually if people don't like the EP set, they swap the A and/or E. Maybe have the soundpost adjusted by a luthier and ask their recommendation?
April 11, 2019, 5:07 PM · Hi,

I was having a conversation today with a famous luthier earlier today. The thing with strings is two-fold: does it work for you? And, does it work for your instrument? A lot of people don't choose strings that work for a particular instrument, or they try to make an instrument into something else, or choose strings for the way they wish to play, even though that may not be what the instrument requires.

Now that said, with any string choice, you have to try it in a hall. Under the ear or in a small room may be something, but in a hall it can be something else.

As for the mix and match... The difficulty nowadays is that gauges are limited. In the old day, Eudoxa would have something like 7 different gauges for each string so you could find a mix of tensions that worked for a particular instrument. Now, it is harder, as often you have to use the bottom three of one brand with an E (either the same or other) that works. Although I have seen experiments with a G string of a different make that can bring something out from the instrument, I have found personally that experimenting with E strings brands and gauges, while keeping the same bottom three strings can produce vastly different results in the sound and projection and usually proves more successful.

Just some ideas...


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