Good Strings to Drive a Heavier Soundboard?

Swiftsailor98

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I was just reading the post on fluoros vs. nylon and I have another twist on the question.

What strings do you use to drive heavier topped instruments?

In my case, I'm thinking about how to get the best sound I can from a cigar box uke. This might also apply to homemade ukes or other ukes with thicker (less resonant) soundboards.

Strings that come to mind are:
-- Aquila Super Nylguts
-- Aquila Reds
-- Martin Fluoros
-- Savarez Fluoros
-- D'Addario Nyltechs
-- Aquila Sugars (fingers-crossed on Mimmo's new formula)

Any thoughts?
 
Adam, I don't have any experience with cigar-box ukes. I have an Ohana baritone that's all mahogany, that sounded pretty dull, with the stock strings that came with it, and also with the Worth Browns that I subsequently put on it. It really sounded pretty dead. Then I put the Martin M600 series strings on it, and it's very lively. Those strings really ring out. I'm glad I tried them (having read good reviews of them here on UU). Whether the same would apply to your situation, I don't know, but I thought I would mention it just in case.
 
I have no scientific basis, but I would try some of the Nylgut varieties, Aquila sugar or perhaps a heavier fluorocarbon, such as tenor strings.
 
For mine, I use Slinky strings.

Hadn't heard of them 'til now. Google search and looking at Ernie Ball site tells me Slinky strings are electric guitar strings, but I see so many slinky types (regular, extra, cobalt, etc.). What works for you?

Then, the translation question: Do you just use the smallest four strings? What if you want reentrant, do you just rearrange them? Looking at the Regular Slinky gauges, that would be .010 for A, .013 for High G, .017 for E, and .026 for C.
 
I have messed around with steel strings on one ukulele. You should google a string tension calculator to see where you will end up. I used the lightest phosphor bronze strings, I forget which ones, and tuned down to G (baritone). It has a distinct metallic sound.

If you tune to C, the problem with steel strings may not be the top, but the neck. I have my doubts the an unreinforced (no truss rod) neck will hold up at standard tuning. But you’ll need to wait for an answer to your question above.

Barring that, I’m in the Aquila Nylgut camp for suggestions.

John
 
If you tune to C, the problem with steel strings may not be the top, but the neck. I have my doubts the an unreinforced (no truss rod) neck will hold up at standard tuning. But you’ll need to wait for an answer to your question above.

Barring that, I’m in the Aquila Nylgut camp for suggestions.

John

Great point. Yes, I'm interested in Riprock's experience.

I think I'm leaning toward Super Nylguts or Savarez Tenors (Alliance KF 150R), but in my case I'll also be interested in what the builder chooses.
 
Great point. Yes, I'm interested in Riprock's experience.

I think I'm leaning toward Super Nylguts or Savarez Tenors (Alliance KF 150R), but in my case I'll also be interested in what the builder chooses.

Sorry to keep you hanging, but I am still privileged to be working and working over 12 hours a day. Anyway, I looked at what I have on my cigar box and right now I have Ernie Ball Earthwood strung up...for no particular reason. I probably just got them because they were on sale. Obviously I am not an adept at electronic stuff. I do have a Blackstar 75 watt amp and a fuzz pedals but I never really give it much thought. I have used, as someone mentioned, Ernie Ball Cobalt and, I believe, Elite strings.

As for what I do: I throw away the two base strings and use the four treble strings. 90% the time, I am in open D tuning and use either a ceramic or brass slide. On those occasions when I want to use my fingers, I tune it DGBE but I play it as if it were GCEA (I never bothered to learn baritone shapes). As far as a re-entrant tuning is concerned, I am one of those people who have absolutely no place in my life for the gCEA tuning (but let's not re-kindle that controversy; let us just agree to disagree).
 
As for what I do: I throw away the two base strings and use the four treble strings. 90% the time, I am in open D tuning and use either a ceramic or brass slide. On those occasions when I want to use my fingers, I tune it DGBE but I play it as if it were GCEA (I never bothered to learn baritone shapes). As far as a re-entrant tuning is concerned, I am one of those people who have absolutely no place in my life for the gCEA tuning (but let's not re-kindle that controversy; let us just agree to disagree).

Riprock - glad work still continues for you! I'm working from my dining room table, when I'm not getting distracted by UU forums. :)

Thanks for the explanation. It presents some options that I can explore.

I think our styles diverge, so I'll let sleeping dogs lie on gCEA--I have both low and high G ukes.
 
Riprock - glad work still continues for you! I'm working from my dining room table, when I'm not getting distracted by UU forums. :)

Thanks for the explanation. It presents some options that I can explore.

I think our styles diverge, so I'll let sleeping dogs lie on gCEA--I have both low and high G ukes.

I do have my Kamaka tuned gCEA out of respect for the tradition. However, I usually just ignore the G string and play my scales and modes and such on the other strings. Yet I am a bit curious now and I think the next chance I get I'll pull the Kamaka out and try out my latest fad, playing rhythm changes in E. I suspect that I'll find the voicings of the chords annoyingly shrill, but I am going to try it.
 
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