Interesting and Important

     1. If you put strings on a instrument which is smaller than the one which the string is designed for, there will be a considerable loss of tension and sound quality. Apart from this, the thicker playing length of the string will end up being wound around the tuning peg, which - especially with thicker strings - will result in damage to the core, loss of tonal quality and strings breaking. This is one of the most common mistakes. We refer you to the listing of strings for smaller instruments in our catalogue.

    2. If you put strings on an instrument which is larger than the one the strings are designed for, e.g. on a large viola, it will have the same effect as tuning the string to too high a pitch, or starting tuning from the highest string to lowest instead of the other way around. Doing this even once can severely fatigue the string or break it.

   3. Sharp edges on the bridge, the nut or the tailpiece will damage the string, and can lead to breakage. The same can happen if the channels in the nut are too narrow, so these should be of sufficient width and prepared with a little graphite from a soft pencil. Another mistake to avoid when re-stringing the instrument is improperly winding the string around the tuning peg. The correct number of windings is between four and five, without any bending of the string between nut and tuning peg and without jamming it against the peg box.

String qualities differ according to the nature of the core into categories  Our standard catalogue contains strings for full sized violin and 'cello as well as 3/4, 1/2, 1/4 and 1/8-sized violins. Our viola strings are produced in lengths to fit the full gamut of viola sizes. Manufactured separately for solo and orchestral playing, Thomastik-Infeld and Pirastro double bass strings are available in a variety of lengths. In the majority of cases, our strings are supplied in three categories; low tension, medium tension, and high tension.

Our string qualities differ according to the nature of the core into the following categories:

* DOMINANT,  TONIKA, VIOLINO string with nylon core

* SPIROCORE   string with spiral steel core

* SUPERFLEXIBLE, EVAH PIRAZZI CELLO,  PERMANET CELLO string with braided steel core

* PRECISION, CHROMKOR,  FLEXOCOR  string with solid steel core

* BELDANTO, EVAH PIRAZZI GOLD, OBLIGATO, SPIROCORE , PASSIONE, PERMANENT string for cello

* INFELD, EVAH PIRAZZI, OBLIGATO,  EVAH PIRAZZI GOLD,  DOMINANT, PERPETUAL,THOMASTIK VISION SOLO,

EVAH PIRAZZI GOLD string for violin buy

    The central problem is that some violins react very sensitively to various thicknesses of E string.

   For optimal response after putting on a set, all the strings should be cleaned before playing with a dry cloth. A microfibre cloth is especially recommended.

   To enhance stability and readiness for concert use, each string should be slightly warmed after being changed and tuned up by sliding your thumb up and down the string about five times, applying light pressure.

   The instrument should then be re-tuned and this process repeated three times. Bowing near the bridge with considerable pressure (up bow and down bow about five times each) will make the strings ready for concert use in the shortest time possible. Experience has shown that strings prepared in this way can be made concert-ready in as little as two to three hours. However it should be noted that these preparatory measures can shorten the sonic life span of the strings and should only be used if circumstances demand the shortest possible preparatory time. The strings put on first should be the ones whose tonal characteristics (mellow or brilliant) the player considers more important for his or her instrument. It should be noted that on particular instruments a given string may respond differently than one would expect.

   For example, the brilliant G string (Infeld Blue) can produce a brilliant or dark sound depending on the instrument, since sometimes the frequency characteristics of the violin itself do not match those of the string.

   The problem can usually be solved by changing a string within the Infeld Violin system, the desired tonal balance being achieved in almost all cases.If one or more strings turn out to be tonally inappropriate for a given instrument, the following procedure has proven very successful:

   The central problem is that some violins react very sensitively to various thicknesses of E string. Our recommendation when changing strings is to start with the E string. The E string provided with the set represents a good choice for the majority of instruments. (Incidentally, the E string's ball end can be removed by finger pressure, so that the string can be used with a ball end or loop end as required). E strings with different diameters are available per request as CUSTOM ORDER STRINGS. Now the G string should be changed, then the D string and finally the A string.

The diversity and beauty of the musical timbre depend upon, on the one hand, the type of material used for the core and, on the other hand, the material spun around the core.

Tone perfection is achieved primarily by the delicate touch of fingers of the highly qualified women in the workshops

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For the perfect sound, Thomastik-Infeld has consistently chosen steel and nylon as the stringcore material for bowed and plucked instruments.

The company, in collaboration with many stars of classic, jazz and pop music, is steadily improving its products. Music strings of incredible variety are manufactured. Besides the standard strings, there is not an instrument so exotic that the proper strings canīt be manufactured.

Ongoing research into the fundamentals of string production taking place at its own research labroratory, as well as a team of highly specialized technicians guarantee the highest standards. But, itīs the mill girlsīdelicate finger touch that decides the tone perfection. Every string at Thomastik-Infeld is wound and checked by hand.