Learn to Maximize Your Cello Sound by Mixing Strings
Find your optimal sound by combining the qualities of different types of strings
“Obtaining the optimal sound and response may require using different types of strings for each string position,” says Fan Tao, director of research and development at string manufacturer D’Addario and Co. “The four string positions on a cello can have very different sounds and responses—this varies enormously with different cellos.”
The best strings for your cello depend on the particular qualities of your instrument, your own playing style, and your personal preferences. “What works best for another cello or player may not work best for you,” Tao says.
Most cellists begin to experiment with mixing strings because they like the lower or upper register of one set, he adds, but don’t care for the sound or performance of the strings in the other set.
Violinists and violists often use strings sets, but “there seems to be no actual ‘set’ of strings that works on the cello,” says Todd French, president of instrument manufacturer StringWorks and cellist with Los Angeles Opera.
“The acoustics for cello lend themselves to alteration in construction. By copying the technologies used in an A and D string, you might end up with a rather odd G and C string, and vice versa.”
So what’s a cellist to do? Mixing strings—the A and D from one set of strings, and the G and C strings from another—may be the answer. The trick is finding strings that work together synergistically and sound good on your particular instrument.
Improve Sound and Response
Historically, most string sets used only one type of core technology for all four strings, however, string sets today employ optimal core technology for each string. So, the good news is that finding complete four-string sets as well as good set combinations may be getting easier.
“For the typical style of cello playing today, solid-steel-core strings tend to perform better for the top two strings,” Tao says, while “stranded-steel-core strings are more often preferred for the bottom G and C string combination.”
What sets will work best for you? The only way to find out is through trial and error. Listen to how other cellists sound. Inquire at your local music shop and find out what other musicians are finding success with. Patience is key. “A player should be willing to try a string for awhile before making final judgment,” Tao says. “Different strings may require slightly different bowing styles to get the most out of a string. Another factor is that different strings may require different setups [such as soundpost adjustment] to maximize their performance.
“A willingness to make adjustments to bowing and setup can bring ample rewards in improved sound and response.”
Find the Mix for Your Own Voice
Keep the following points in mind as you shop and test out strings on your own instrument.
String tension will affect response and projection. There are no universal standards for string tension, so brands vary greatly. Before you head out to your local dealer, do some online research. Many manufacturers list their tension specifications on their websites. Tao explains that higher-tension strings will sound louder under the same bowing conditions (and can be played louder). However, higher- tension strings are less responsive (they have more mass, which contributes to a longer response time) and are also more difficult to control, especially when played softly. “While lower-tension strings cannot play as loudly as higher-tension strings, they often have a larger tonal palette than higher-tension strings,” Tao says.
String flexibility and diameter can accentuate overtones and responsiveness. A perfect textbook string has no bending stiffness: it is completely flexible. If the string has bending stiffness, the overtones will not be perfectly harmonic. In addition, Tao says, strings with high bending stiffness do not respond well to bowing. Although it is difficult to test string flexibility before you put the string on your instrument, you can get an approximate idea by looking at its diameter. Smaller-diameter strings are usually more responsive under the bow and are consequently easier to play.
Strings made with stranded-steel cores are usually more flexible than those made with solid-steel cores. Strings made with synthetic cores can be very flexible, though they are usually larger in diameter, negating any advantage.
String materials change tone. Lower-pitch strings require more mass to vibrate at a lower frequency. So, strings are wound to add mass without adding bending stiffness. Cello A and D strings typically have two windings, while C and G strings may have more.
“Because of the rather long string length, a strong tight-wound string can really make a difference tonally, letting an otherwise warm or recessed-sounding instrument project to its fullest,” French says. “I haven’t noticed as much of a change in a soft-wound string. The added tension in a strong-wound string compensates for that long string length and keeps the vibrations tight and focused.”
How does core material affect your playing? Tao says that because modern cello technique tends to emphasize intensity and quantity of sound, cellists play close to the bridge and use a lot of bow force. “Traditional gut strings as well as synthetic core strings are not suited for this style of playing,” he says.
“That is why most cellists today use steel-core strings.”
When shopping for A and D strings, pay close attention to damping. “Damping is how quickly the vibrations die away—high damping equates a short sustain. Low-damped strings are very bright sounding and respond poorly to bowing. Steel-core strings have very low inherent damping unless additional damping is added,” Tao says.
Tao adds that, in his experience at D’Addario, a damping compound is added inside the strings to increase the damping to a more optimal level. “We adjust the amount of damping for each string,” he says. “This added damping is most important for the steel-core A and D strings—they are much too bright and unresponsive without it.
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