String confusion for L&H model A

[Tim Logan]

Although the TI mittels are great, I am wanting to experiment with strings on my L&H Model A.
A little earlier today I tacked on a question about Dogals to another thread. I continued to dig through more and more old threads trying to discern viable, sensible options for my L&H A. The more I dug the more confused I got. After looking over this article on string tension, I knew I was over my head!

https://www.mandolincafe.com/news/pu...s_001640.shtml

There are so many variables that come to play, I feel that only hearing voices of experience will get me to a sensible short list of strings to experiment with. Can you who have been there comment on the following strings in terms of safety for the instrument, playability, and tone. These are the strings that seem to get mentioned the most often in relation to classical.

Dogal Calace both R92 and R92b
Any Lezner strings you might suggest
Any GHS strings you might suggest
(TI's I already know about)

Perhaps I am getting lazy about digging through threads, not sure - but I do know that I'm confused and want to avoid using strings with unsafe high tension. Thank you for any potential input.

[Eugene]

For what it's worth, I only think of the GHS "classical" set in the do-no-harm category. I'm not at all fond of the sound, their intonation seems less consistent across the set's gauges, and they don't seem to stand up to extended play, not in my hands.

[Tim Logan]

For what it's worth, I only think of the GHS "classical" set in the do-no-harm category. I'm not at all fond of the sound, their intonation seems less consistent across the set's gauges, and they don't seem to stand up to extended play, not in my hands.

Thank you Eugene. There is no available string tension info for the Dogal strings, but the gauge info is:

Dogal R92 (medium)
.010 .015 .025w .037w

Dogal R92b (soft)
.010 .014 .024 .034

and my current TI mittel info:
Thomastik mittels:
.010 015 .021 .033 (guage)
17.4 15.4 15.4 15.4 (pounds)

Do you have any thoughts on trying these out? I do currently have a spare set of the R92 mediums. Thank you for your thoughts. I appreciate it!

[Tim Logan]

I have continued to dig and believe that the following thread has as good answers as I may possibly get. If you, the reader, are exploring this question I recommend this thread:

https://www.mandolincafe.com/forum/t...tage-mandolins

This thread might also interest a reader:

https://www.mandolincafe.com/forum/t...-Steel-Tension

And finally this thread might also interest a reader:

https://www.mandolincafe.com/forum/t...D-addario-fw74

[Jim Garber]

I don't think you need to use ultra-light GHS or Dolce Dogals 92b on your L&H. I don't think the super-light strings will move the top properly. Of course, you can try.

I have had PB strings (D'Addario J-74) on my L&H early longer scale and I did try medium Dogals on it as well but they really didn't quite make it tonewise to my ears.

I am assuming that you don't like the tone you are getting from your T-I strings on the L&H? As I have mentioned before the only vintage mandolin I do like with T-Is is my L&H/Washburn. The only other mandolins I have liked with them are those modern ones specifically voiced for them like Phoenix Neo-Classical. You have one of those in fact the rarer Europa.

[Tim Logan]

I don't think you need to use ultra-light GHS or Dolce Dogals 92b on your L&H. I don't think the super-light strings will move the top properly. Of course, you can try.

I have had PB strings (D'Addario J-74) on my L&H early longer scale and I did try medium Dogals on it as well but they really didn't quite make it tonewise to my ears.

I am assuming that you don't like the tone you are getting from your T-I strings on the L&H?

Jim, thank you for responding. Actually, I love the tone of me L&H. I play it much more than my other three mandolins because I enjoy the tone so much. That being said, I am simply curious about how other strings might sound. I am pretty sure that my experimentation would send me right back to the TI's, but don't really know. I guess you could say I was thinking of increasing my knowledge base. I have WAY less exposure to such things compared to most on this forum I believe LOL. Most non-TI strings are reasonably priced so there is not a downside to experimenting UNLESS I unwittingly put on a string with inappropriately high tension. The kind of thing I get curious about, for example, is "would the LH lean much more to a bowlback sound with R92's or would it be a totally unique sound?" What are the cliches - curiosity killed the cat and if it ain't broke, don't fix it? I do get a slight impression that most folks use TI's because it seems to be a generally accepted match - not because they experimented. Probably should just quell the desire to experiment!!!! Thanks again for chiming in. By the way I listened to you on a Soundcloud recording - really outstanding. I enjoyed it very much. Tim

[Jim Garber]

All very interesting and certainly I have experimented however IMHO: once I find what sounds good to my ears I would much rather work on my playing than spend loads of time playing with my tools, if you know what I mean. Make some music and make some more. Just my 2 cents. :-)

[Tim Logan]

All very interesting and certainly I have experimented however IMHO: once I find what sounds good to my ears I would much rather work on my playing than spend loads of time playing with my tools, if you know what I mean. Make some music and make some more. Just my 2 cents. :-)

Won’t argue with that a bit!

[Foster Reed]

When Brian Dean set up my L&H A, and my 1883 Calace, he specified Lenzner Consort strings, and I haven’t looked back.
I change them when the A gets unwound.
He also mentioned that changing string gauges and makers can impact the intonation at the bridge.
I have also noticed that a very key element to this conversation is how high the strings are off the keyboard - the higher they are, up to a point, the more they drive the face and affect the volume and tone. Another element regarding tone is the swing of the pick through the strings and the thickness and shape of the pick.