I myself have played them for six months now (I wrote a review on my early impressions here). After six months, I still enjoyed them, but I thought they might sound a bit grainy, and response to bowing might be worse than in the beginning.
I then switched to Vision Titanium Solos for a week (which I had played for only four days so far). I thought their response was *not* better than in the six-months-old Dynamos, and I could hardly stand the more metallic sound of the Titanium Solos, so I switched to Warchal Timbre for three weeks. The Timbres were shiny in a non-metallic way, and they were thicker and had more volume, and of course more high frequencies (a "sweeter" sound) than the Dynamos. For two weeks I thought the Timbres were quite addictive, but in the third week, I observed that their volume and sweetness declined a bit (which probably happens in all sets of strings) and that I did not really like their sound at low volume; also, they were, or became, a lot less responsive than the other two mentioned sets. They may be strings for soloists and not for me. So, I switched back to Dynamos.
Although my Dynamos are now in their seventh month, with at least one hour of playing per day, they are still beautiful. And no, in comparison they do not sound grainy, and their response is still close to perfect. I even have the impression that they got back some of their initial shiny character (some of their higher frequencies) after taking them off my violin for a few weeks and putting them on again. Is it possibly that one can "reset" strings by giving them such a pause?
[My experiences with 27 sets of strings are described here]
Tweet
Prior to the Dynamos I settled for the Warchal Brilliant Vintage but now I have decided I don't intend to go back and will stick to the Dynamo which sound good at any bow pressure/volume and yes, they are stable giving me good tone colour whatever I do.
I am hoping they will last me 5 months, I play 1.5 hours to 2 hours per day depending on how hard a day I have in my main job which takes up 12 hours of my day 6 days a week!!!
Using a 325 mm string length, the A, D and G have 5.7, 4.8, and 4.8 kg of tension, respectively, per Thomastik.
Using the same string length, Evah A, D and G (green) in medium tension have 5.6, 4.8 and 4.9 kg of tension, per Pirastro.
The tension across A, D and G actually adds up to be equal between the two sets.
Evah Pirazzi:
G - 4.9kg
D - 4.8kg
A - 5.6kg
E - 7.8kg
Total: 23.1kg
Rondo:
G - 4.8kg
D - 4.8kg
A - 5.7kg
E - 8.2kg
Total: 23.5kg
@Christian: thanks for the hint! I think I'll wait until Rondo Golds are regularly available in Europe, because I don't see any reason to replace my Dynamos yet. But I'm looking forward to the first reviews of Rondo Golds.
https://youtu.be/HoxMq2hOgM0?feature=shared
That sounds about right because EPs and Rondos are as high on the tension chart as Dominants are low. My confusion is why do we need to use the term "ULTRA". General categories like low/medium/high may be easier to understand and agree upon.
I think the string companies are tricking us a bit though -- every few months they release a new string and we buy it. Meanwhile, Hilary Hahn is still out there making amazing music with Dominants and a Gold Label E.
Who is ready for Rondo Gold?
the Larsen Gold E is very loud compared to the other E strings I tried, with the Dynamos it blends well and makes all the strings louder (but still retaining their tone qualities) and everything more responsive.
I found the winning combination for my violin finally :)
PS yes the Larsen gold E is a little more prone to whistling however if you get used to this and attack it with the right bow arm weight/angle then you can learn to tame it, just need to keep conscious of it
Lesson 1 - it's all about personal preferences and particular circumstances; what kind of sounds YOU like and you can make in your music with your violin and your bow. I wouldn't regard anybody's recommendation as authoritative because their circumstances are likely to be significantly different from mine.
Lesson 2 - more choice doesn't necessarily result in greater consumer satisfaction
Here endeth the lessons
Higher tension strings will have more pronounced harmonics.
@Mark, Thomastik provides very good charts at the back of the package. You just need to compare the boxes against each other.
I would imagine that the string tension will change the pressure on the bridge and will in turn have an effect on the overall pressure on the front panel of the violin...this in turn can make the sound 'open up' (or get louder) or get a little suppressed so closed and/or not as loud
maybe its the way I word it, not sure but that is how I hear it, overall louder but in a way that all strings are similar on how they respond and how loud they are, sorry not sure how to express it better
Also the Pirastro Gold E to me 'stood out' as it was particularly soft compared to the other strings, if that makes any sense :D so it stood out on how different it was and not louder as it certainly was not louder
This is why I listed that we have some many good string options, including dynamos. I just think we tend to get in the mindset of a new string will revolutionize our playing and it usually is not the case.
@Lydia - I would add Rondo strings to my list.
I think that the original Thomastik Vision (~$55 a set) and Warchal Karneol (~$40 a set) are still some of the best values out there for violin string sets, and perform just as well as so-called "premium" sets over twice their price.
I know other players who hate the sound of fresh strings.
On my violins, the Gold Label E still plays good with Dominant Pro, because they're warmer and not as loud, with slightly less tension.
This discussion has been archived and is no longer accepting responses.
Violinist.com is made possible by...
Dimitri Musafia, Master Maker of Violin and Viola Cases
Elmar Oliveira International Violin Competition
Johnson String Instrument/Carriage House Violins
Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine