For most of my life, I've preferred phosphor bronze-wound strings. In the preceding photo, phosphor bronze strings are shown on the left, with nickel-wound strings on the right. Phosphor bronze have a slightly darker voice over 80/20 bronze, and a much darker voice compared to nickel-wound strings. On many of my double-course instruments, I'll mix the winding compound types based on the overall desired balancing of the voice of that instrument. For example, if I want the octave string on the F course to speak a bit more, or to be a bit more articulate, I'll use phosphor bronze on the F diapason string, and an 80/20 or even nickel on the F octave string. Or, if perhaps the low B diapason string is too dark in phosphor bronze, I'll use a nickel-wound to make it speak a bit better. The goal in this scenario is to achieve the most balanced set possible for a specific instrument. Each instrument is a unique individual unto itself, and it takes time to alchemize the most responsive string set for each one. Not only with winding compounds, but also gauges. However, finding the proper gauges for a balanced set is another topic for another blog post.
The most recent string change on the
30-string Contra-Alto guitar involved an experimental set using all nickel-wound on the Contraguitar side. I'd been using some
Ebow on the 30, and it requires nickel strings, so instead of making a few courses nickel, I decided to try a full nickel set. Not only for Ebow purposes, but I also wanted to learn about the tonal properties of a full nickel set on this instrument. As expected, the clarity was certainly there, and again as expected, a bit brighter than a phosphor bronze set.
What I didn't expect was a difference in responsiveness when using
two-handed techniques. Two-handed techniques, sometimes known as "tapping," has become a major part of my technique over the past few years. Additionally, I'll often simultaneously play both necks on the doubleneck instruments. I've noticed that this technique on the 30-string results in slightly easier fretting, more clarity in notes and chords, and a bit more of an even and more immediate response across the registers. The balance of the overall tonal response also seems improved. Not in a major way, but it's certainly palpable enough to bring an improvement in those areas.
I am planning for the next string change on the 36-string to involve a full nickel set on the octave tunings side. If that works as expected, it's likely that the intervallic side will also receive a full-nickel set.
A few months ago, I converted the 18-string Hybrid nylon/steel into an all-steel Contraguitar, now known as C4. I discussed this procedure in this blog post and this blog post. You can see the mixed nickel/phosphor bronze set in this photo. The diapason strings are nickel-wound, and the octaves are phosphor bronze. The first all-steel set on C4 involved mostly phosphor bronze, but those courses were a bit darker than I wanted for this instrument. Plus, nickel strings are lower in tension than phosphor bronze, and I wanted to control the tension for this instrument in the conversion process. So, after spending a week or so with the full phosphor bronze set, I replaced the diapason strings with nickel. This resulted in more clarity in the bass registers, and again, I noticed increased responsiveness.
The discovery of increased response from the nickel strings was quite unexpected. And kind of exciting, actually. No doubt more of the Contraguitar sets will become more nickel-heavy this year.
-kk
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