Cello Strings: Gut vs Steel

If you are reading this post, it’s most likely that you are a steel string player who’s looking for more information on the differences between gut and steel strings. So, before you take the leap of switching set ups, I’m going to do my best to break down the main differences topic by topic. All of what I am about to say comes directly from my personal experience with steel, open gut, and wound gut string setups over the past 4 years. Please add your experiences in the comments below, it really helps to round out the discussion and I like learning from all of you too! Also, let me know if you have any questions about subjects I may have overlooked. This entire conversation will be in the context of tuning A to 440 Hz and all tensions listed are in kg tension at A=440. OK! Here we go….

Temperature/Humidity Changes & Pitch Stability

This is always the “elephant in the room”, so let’s get it out of the way early…

Gut is very subject to temperature and humidity changes. This will affect the pitch stability, both in the instrument holding its tuning during a session and with the center-of-pitch under the bow & left hand fingers. Extreme humidity or dryness can kill your strings, even if brand new.

Steel is virtually unaffected by temperature and humidity changes. It’ll hold pitch from session to session with minimal tuning, and generally doesn’t need to be retuned during a session (unless you’ve been playing a lot of forceful FFF passages with your bow).

There are 3 main things that can cause instability of pitch with Gut strings: (1) temperature and humidity changes (2) the low tension of the strings (3) too much pressure from the bow.

Gut is hygroscopic. It will soak up humidity from the air or lose it if it is too dry in the room. When it’s humid and warm, the strings will go flat. If it’s dry and cold, the strings will drift sharp. One thing that makes a huge difference is having a proper hard case with very good insulation protection. You’ll want a case that keeps temperature and humidity changes Out, and holds in the humidification that you control inside the case In. Dampits will help, but a case humidifier system is the best option (I use Stretto). Dampits alone won’t create enough humidity in your case to keep the gut strings conditioned during the Winter (at least where I live in Wisconsin…). I think if you are using steel strings, dampits alone are enough to keep the instrument hydrated.

I recently upgraded to a Gewa Air case (I love it!!), which has an incredible insulation rating. This has made a world of difference for the performance of my gut strings. The strings and instrument have been sitting in the case soaking up all of that humidity from the case humidifier (I keep the case closed at all times, to create an controlled internal climate). Then when I bring the instrument out into the room, the strings feel plump, juicy, and full of life They are louder, more resonant, and much more pitch stable. The strings will last for hours while I teach, practice, or record without drying out or going too out of tune. Currently it’s winter time in Wisconsin and the humidity in my studio is averaging 30%, normally with the wound gut strings they start buzzing and dying on me once the humidity drops below 40%. With the new case and the humidifiers, I was still able to play my gut strings even below 30% humidity. If I noticed the strings drying out too much, I’d pop the instrument back in the case for a while to ‘juice up’ so they didn’t go past the point of no return. Don’t just leave your instrument sitting out in the dry air though! If you are not playing it, put it back in the case.

This new hard case has really been the biggest game changer for me and I think my gut strings will have a longer life span and be able to hold their pitch throughout (future) performances better. If there is a big swing in temp/humidity on stage, for example hot lights, audience bodies, ferocious playing, sweaty hands, then your gut strings may start to drift out of tune (most likely flat). You will have to tune up between movements or pieces. And when you listen to some old live recordings of symphonies and concertos from the early 20th century, when orchestras were still using gut… they did just that! They tuned in-between movements and people coughed and grumbled and harrumphed and stuff. I think the only time that this became an issue, is when I was the only one in the group using gut… I’ll tell ya, it’s a little more awkward for just one person to be tuning in-between movements… That being said, in normal, non-global-pandemic times, I perform about 100+ gigs a year and have been the only one playing on gut at most of those performances. It was only an issue at maybe 3 shows in the last few years, that I can remember. It mostly happens during seasonal transitions or outdoor performance situations.

If your plain gut A and D strings are getting too dry, you’ll need to oil them. You can use olive oil, grapeseed oil, almond oil, or a special compound like Upton Bass’s gut oil 44 (which I use). The oil will soak into the gut and fill up any of the gaps between the fibers, and this will prevent water molecules from getting into those gaps in the string, and effecting it’s elasticity or hygroscopic intake. It will also give a bit of a finish or varnish to the string. The string will become very lively, softer sounding in tone, and rich again with overtones. The one area in tone which I like less after oiling is how your string sounds while shifting or gliding after oiling. But the payoff of protection and longevity for your string outweighs this one negative.

If you are getting lots of squeaks and whistles from your plain gut string, if the tone starts to sound too brittle and harsh, or it stops responding correctly under your bow – the string is probably dried out and just needs a light oiling. That’s where Upton’s gut oil 44 can really come in handy, because it dries very quickly (within minutes) and it doesn’t leave a sticky residue after the string is wiped down!

[* After a few years of trying it different ways, I generally oil everywhere except where I bow – but maybe it doesn’t actually affect the bow hairs… someone add their 2 cents in the comments. Apart from not wanting my bow hairs to soak up any oils, I also found that avoiding oiling where I bow helped to retain more of the original sound of the string. After you oil, the tone of the string will change, there is no way around that Sometimes having an oil coating where your bow made the string too bright/harsh and changed the overall tone in a negative way. This is just my experience and personal preference, I’d love to hear what others have to say about this. In the old days, I hear that luthiers and players would just store all of their spare strings in a bag/sack of olive oil. I tried olive oil, but couldn’t stand the smell of my strings or how they felt afterwards…]

I have successfully oiled wound gut G and C strings which have no silk wrap between the gut core and the winding. I’ve saved a few strings this way &/or re-invigorated them when re-installing the string after it’s been sitting on the shelf for a a few months or even years. However, I don’t recommend oiling a string which has a silk wrap between the gut core and the winding (like Pirastro’s wound gut strings). It may save the string from a buzzy death, but it will sound like a dull, dead string afterwards and never truly come back to life in tone or response. It should only be done if you have no other options left (ie no other back up strings to use for your performance, rehearsal, recording, whatever).

Pro Tip: I try to always have a spare broken in string that will work for my setup. If you already have figured out which string set and gauge works for you. I’d break in a set, and play them in for maybe 2 weeks and then store them safely as your back up set. This way you’ve already stretched out the gut and trained it up to pitch. If you snap a string or a string dries out and dies, you at least have an already broken in replacement string of the same set ready to go. If you try to put on a fresh gut string before a performance, it will be un playable. The string will keep stretching and detuning, it really takes about 2 sessions at least to break in a gut string. Some times it takes a week to settle it up to pitch. So, even if I try a gauge or brand of string, and know immediately that it’s not the sound or response I want – I’ll still break it in completely and then keep it as a spare just in case! Plus you never know when you might be playing a piece which would benefit from that string’s qualities, then at least you have it in your quiver!

Pro Tip: I am keeping my spare gut strings inside my humidity controlled case, to keep them from dying (in the meantime, while I am not using them). That way if I choose to swap them in on a moments notice, they are already hydrated and ready to go!

[** I’ve actually just switched over to housing my spare gut strings in a plastic bin and put some case humidifiers in there to give the strings some humidity while they sit on the shelf.]

If you are in a very stable, controlled environment, you won’t have to tune your gut strings that much. For instance, my room has been consistently between 30-35% humidity for the last few months, and once my gut strings are broken in after a few sessions, they pretty much stay settled to pitch. I was able to pull my instrument out of it’s case and play – my strings would mostly hold their pitch from the last session. Because of Quarantine, I haven’t been taking my cello anywhere, so the gut strings have been very dialed in and pitch stable. But I know from experience, that if I took my cello to a more humid environment (for rehearsal, recording, performance, etc) – the strings would need some time to adjust and I’d have to tune a number of times until the strings settled in. Because of this, I try to get to my performances even earlier when playing on gut, just to give the set up time to acclimatize. Under normal circumstances, you’ll do a lot more tuning and settling into the space with gut.

Pro Tip: If there is a big difference between the temp/humidity on stage vs backstage – do your final tuning on stage, and when you go backstage don’t re-tune! Gut has a “environment pitch memory” and I found that the strings will detune back stage in the new humidity environment. But when walk on stage to perform, they’ll snap back in tune again once they are in that humidity environment that you originally tuned up in. It’s pretty cool!

Steel, there is not much to say here, you barely have to tune these things once they settle in… that’s the beauty of it, you sit down and go! You get to spend more time playing and less time tuning and adjusting your setup. Steel super pitch stable, so you don’t have to worry about it (unless a peg slips). I think it’s a big part of the reason that people switched over in the middle of the 20th century, because it certainly wasn’t for steel’s tone or expression…

This is one topic where steel wins big over gut. It can make or break your decision to string up gut or not. That’s why I wanted to address it first.

String & Instrument Care

On a gut setup, you’ll have to spend a lot more time on maintenance and upkeep with your strings and bridge. You have to care for your instrument more, it’s almost a more “personal” interaction. With steel, you can kind of “set it and forget it”, clean off the rosin and just keep an eye on things. But with gut, you are constantly adjusting the strings, bridge & pegs, requiring more time to make conditions right for your set up. It’s a lot more fussy. If something feels off, sound post, bridge, nut, pegs, whatever – just do yourself a favor and take it in to your local cello doctor.

“The trials of gut…” I said on stage once during a soundcheck, shaking my head while tuning a finicky, detuning string, “No, the Joys of gut!” replied my violinist bandmate. I laughed and kept that one in my back pocket – ever since then that’s how I’ve referred to it.

Peg Tuning

Due to the lower tension and elasticity of gut strings, it is much much, much easier to peg tune then. I actually find it enjoyable to peg tune gut strings, it doesn’t require as much force or effort to turn the peg. If’n your pegs are in order and well fit, you can fine tune just as easily as with a fine tuner. Steel strings however can be down right scary to peg tune, especially a steel A string! Show of hands (comment below), who else has been whipped in the face by snapping a fresh steel A string?….not so fun. Tuning steel strings with the peg is like a right of passage for young cellists, and it is incredibly challenging because you need so much strength and control to do it. Gut strings a way easier to handle – I also think it’s easier to tune open 5th double stops with gut.

Pro Tip: Make sure to use peg dope if your pegs are sticking and or slipping. When peg tuning, it should be a smooth turn – not a click or a jump.

Pro Tip: Be sure to loosen the string and re-apply graphite to the grooves at the bridge and the nut on a regular basis when using gut. Because you do so much more peg tuning, you’ll want to re-lubricate those surfaces so that the strings aren’t catching, bunching or dragging and getting damaged or pulling your bridge toward the fingerboard.

Flexibility, Scordatura, “Swapability”

One of my favorite things about Gut strings, is they are way easier to mix and match with! You can customize your set up and get really specific about your gauge and tension. I could have a gut setup where each string is made by a different string maker and still have it sound & feel good! I think it’d be much harder to achieve this with steel. If you know you like a 1.18mm A string instead of a 1.16mm, you can order it! Not only is it very customizable, but gut strings sound infinitely better for Scordatura and alternate tunings! So if you are into fiddle styles where you cross tune a lot, or if you like to play in older scordatura and Italian tunings such as CGdg, or you are interested in alternate tunings – gut strings will handle it way better. You can also more easily dial in your gauges to suit your alternate tuning. I’ll talk about this more below, but as an example – I have some plain gut A strings between 1.18-1.22mm for A=440 standard tuning, and then I have some heavier gauges between 1.32-1.38mm for drop G tuning. This way the top string keeps the same tension and the instrument doesn’t loose any volume or sustain. But even just dropping your regular wound gut or plain gut A string down to G sounds incredible!! You’ll love it! It’s really easy to drop the peg and then pull it back up. So, it makes a lot more sense to me that players in the past who were playing on gut strings would have been more comfortable with alternate tunings. Steel strings are so dialed in for that one specific pitch/tension and with their thin diameter, they just don’t hold up at lower or alternate tunings. It’s not the same.

Thickness / Gauge

Steel gauges are very thin in comparison to Gut strings. An open gut A string can be as thick as a medium gauge steel C string! So if you are transitioning from Steel to Gut, decide on you string gauges/tension, order your set of strings, and once they arrive bring your instrument and the new strings to your trusted luthier. Have them fit your nut and bridge to the new string set up or cut a new bridge specifically for the gut strings. They may have to adjust or your tailpiece and soundpost too.

Here is a side by side for thickness comparison. I have on the Pirastro Perpetual Soloist set (Medium A, D, Cadenza G & C) which are all very thin, even for a steel string. I am holding up the Light Gauge 26.5PM Oliv D string in this photo. It is at least the same size as the Cadenza C string!
Next I am holding up a Medium Gauge Plain Gut A string 1.20mm from Aquila. You can see that it is basically the same diameter as the Oliv Light D and also about the same size as the Cadenza C string!
Finally, we have a Heavy Gauge Wound Gut C string 39PM from Damian Dlugolecki. It is a little smaller in diameter than the Aquila Gut C strings, and maybe equivilent to a heavy gauge Oliv C. Either way, you can see that it is massive compared to these thin steel strings. So this is an extreme set up change for me. From very thick gut, to very thin steel.

After 2 years of a lot of DIY adjustments to my nut, bridge & tailpiece – and trying out gauge after gauge of gut strings… I did just what I suggested above. I ordered a fresh set of my optimal gauge traditional gut strings (at the time in 2019 this was: Aquila whole unsplit lamb A 1.20mm and D 1.60mm, with Damian Dlugolecki NiAg G 28PM and C 38PM) and had my luthier Nat Taft (Taft Violins, Madison, WI) cut me a new bridge specifically for those strings. I had him make a few adjustments and corrections at the nut too, to make sure it was smooth enough and wide enough to handle the thickness of the gut strings.

In 2019, after much experimentation, I had my luthier Nat Taft cut a new bridge specifically for this string set. These strings are gorgeous! I loved how they felt, played, sounded and looked!
Aquilla whole unsplit lamb A & D (standard heavy) with Damian Dlugolecki NiAg gut G 28PM & C 38PM

Now, I say all of this in the context of switching back and forth between gut and steel. I have currently switched back to steel strings for a few projects that I am working on in 2021. However, I am still playing on the same instrument with extra wide grooves at the nut and the bridge (as it was set up for both wound and traditional gut set ups). I picked out some lower tension steel strings to match the tension of the gut strings that I was using, which it should be noted were fairly thick and high tension gut strings, overall. But a lower tension string, regardless of the material is generally more narrow. This created an issue with my setup at the nut and bridge. But I learned something very important in this process, which is how much the tension of the string will change when stringing it either in the tailpiece or the fine tuner (more on that next)… So even though my steel D strings (mediums of Jargar, Kaplan, Pirastro Perpetual Soloist) all have the same tension as the Pirastro Oliv light D string that I had on (14kg tension), by stringing them in the fine tuner, they actually had less tension than the Oliv D strung in the tailpiece. So, some of the steel strings (especially A & D) were sitting too low in the bridge groove and the nut, plus they were a little too slack when in the fine tuners. One solution was to use thin leather washers on the bridge, smooth side under the string. I normally use these leather washers as a padding/guard between the knot/ball end of the string and the underside of the tailpiece. I regularly use these leather washers as a ‘riser pad’ to add tension to my gut C strings, if I need it. But I found that the tone and tension of my D strings and A strings (Perpetual Soloist light A ~16.8kg or medium-light ~17.6kg gauges though!) improved once I put this leather washer between the string and the bridge (in the groove). It helped get the string out of the bridge groove and brought the tension up to where it should be…

[***Note, this was only a temporary fix and it helped me figure out what changes needed to be made to my setup to maximize the response of the strings. It also helped me determine which gauges would work best for the sound I was after. In the end, I took my cello to the luthier to have it adjusted and fine tuned for that new steel set up. You should do this too, but I just wanted to lay out the process I went through with some of the work arounds or quick fixes that helped me to understand the main principles at play.]

… Keep in mind, using a leather riser pad as a parchment does change the height of the string, but in cases where I had a wound gut A string mixed with a steel D string, or a Steel A string mixed with a wound gut D string, it helped to bring the top of the steel string up to the same height as the top of the gut string. This became very important for Bowing. I had difficulties bowing when the steel string was really low and then the gut string next to it was really high… it just throws off all of your muscle memory, etc. So, this was a way to even out the top of the strings so that bowing a hybrid set up actually made sense. Another benefit is that the steel string will bounce back up to that string height when released, so it makes things like thumb position more natural, because the string will come up to meet your thumb when releasing finger pressure out of the fingerboard. So far, if I want to use the leather riser pad to (1) bring the string height up to match the higher/thicker gut strings, &/or (2) to add more tension to a lower tension steel or gut string, &/or (3) to get a thinner steel string out of the deeper groove in the bridge (or the nut for that matter), &/or (4) to protect the bridge from a higher tension steel string (like a heavy gauge A string)… then I will lace the steel string in the fine tuners. It just helps give you a little more slack so you don’t kill your bridge, table or string when adding the extra height and tension. If you lace in the tailpiece, there will be too much pressure (*unless it’s a really floppy gut G/C string).

However, if I like the string height of the steel string directly in the bridge/nut in respect to its relationship with the surrounding strings and I still need a little more tension from it, I will lace it directly in the tailpiece with no fine tuner. (more on that next)

Here is the same bridge in 2021, reshaped and re-positioned now with steel strings, including very thin parchments for the A and D string. After I figured out what set I wanted to use for a while, I took it in to the luthier for custom tailoring to let those strings shine and live to their full potential. Ideally, I don’t want to use leather washers/risers or other DIY fixes, but things like that can be helpful in deciding what tensions and string combos you really want to go with. It can also highlight some areas on your setup you may need fixed by the luthier. It’s partly how I decided on switching from the Light gauge Perpetual Soloist A to the Medium gauge.


Gut lower tension
Steel higher tension

Broadly speaking, Gut strings have low tension & Steel strings have high tension. But this can be misleading and there are a number of misconceptions about what it entails. Even though gut strings are lower in tension, they are much thicker and textured. Gut has a lot more tone and complex harmonic content than steel strings. If you have a medium to heavy gauge traditional gut string set up (A = 1.20mm or higher) or for instance Oliv or Passione wound gut strings on your instrument, you can make a lot of noise! Especially if you get your instrument set up right by the luthier for a louder sound. With a set up like this: Passione heavy G & C (both 12.8 kg) + Oliv light D (14 kg) + Eudoxa heavy A (13.6 kg) or Oliv A (light 14.2 kg, med 15 kg), my cello was definitely louder and richer than when I switched to both medium then heavy Larsen Originals, Jargar, or the Pirastro Perpetual Soloist strings I’m trying right now.

If you want this loud sound using gut, you’ll need to play on the heavier gauge strings and lace them in the tailpiece. It’s all about tension. On my cello, sets using an A sting equivalent to 1.20mm was the threshold for being able to play with decent volume. Once you use medium-light plain gut A strings with gauges at/or below 1.18mm, you’ll start to notice a bigger drop off in volume. Also, if you are using the medium gauge Eudoxa set, it will definitely be quieter than a steel setup! If you want a bigger sound, but still use gut strings go with Oliv, or Passione or a heavy gauge traditional gut string set.

[****On volume: I was trying these steel string set ups on my instrument, which had been set up for gut strings. I have since taken my cello back to the luthier to have it tweaked to maximize my setup for the Pirastro Perpetual Soloist strings, and the cello is much louder now, with an even more immediate response. But I feel like it would still be as loud (or louder) if I were to put on the wound gut setup I was using previously… I’d only know that for sure if I switch back to that set up, which I don’t intend to do for a while. I think the main thing making it louder is that we increased the height of the grooves at the nut and put parchments on the bridge for the A & D strings so they don’t sink into the grooves of the bridge. If I switch back to gut strings on tweaked set up, I’ll be sure to come back and update this section to reflect my findings.]

One bonus about regular low tension gut strings, is that it is WAY easier to play in thumb position and to press down to the fingerboard in the highest positions!

Sustain vs Blend

Both with the material and lower tension of Gut, you achieve a more harmonious, deeper Blend between the strings. The voice of the strings become one, especially with double stops – the tones just melt into one another! And of course, the blend with other string instruments is magical. I know that players in the pre-WWII orchestras and chamber music groups must’ve really been enjoying that blend! I think the members of Early Music and Historical Performance Ensembles of today can attest to this. Think of all of those old composers you love who were hearing their music performed on gut – that’s the sound they envisioned when composing their masterpieces. It’s a way to get closer to what the composer had in mind, and the strings will show you a different way to speak your music – invaluable insights even if you switch back to steel!

With higher tension Steel strings, you get more individual string clarity and Sustain. This is one of the misconceptions for sure! People often hear all of that sustain and think that the cello is louder because of the Steel, however this has largely to do with the Tension, especially the tension of the A string. On this matter, I have a very interesting experiment that has been separately confirmed by another Madisonian cellist, Jake Muratore.

In the Fall of 2020, we both had been using wound gut set ups, Jake had on the Oliv light gauge set and I had on the Oliv light D, with Passione heavy G & C strings. During the same 2 or 3 week period, we both independently happened to try steel A strings with our set ups and discovered all of this sustain ringing out suddenly from our instruments. Jake tried the Passione A medium 18 kg and I tried the Perpetual Soloist heavy A 18.5 kg. In contrast, the highest tension for Pirastro’s wound gut A strings are 13.6 kg for the Eudoxa heavy A & 15.6 kg for the Oliv heavy A. So the steel A strings have considerably more tension than even the heavy gauges of wound gut or a normal plain gut A (between 11.8 kg kg to 14.5 kg).

Now, I wanted to confirm whether or not this had to do with the material or the tension or both? So I set out to do a controlled test of various tensioned A strings on the same cello, on the same day, with the same bow tension, keeping the same D, G & C strings for the whole session: I had an assortment of plain gut A strings ranging from medium gauges like 1.18 mm which is 13.2 kg, the same as Eudoxa medium gauge and 1.20 mm which is 13.6 kg, the same as the Eudoxa heavy gauge (for those who are interested to know, a 1.22 mm gut string would be 14.2 kg, the same as an Oliv light). I also had some extra-heavy gauges like 1.32 mm and 1.36 mm gut strings, which have basically the same tension as a light gauge steel string. The 1.32 mm gut A has a tension of 16.4 kg @ A=440 and 13.0 kg when tuned down to G or scordatura or old Italian violone CGdg tuning. The 1.36 mm gut string has a tension of 17.4 kg when tuned to A, which has more tension than the Perpetual Edition A 17.3 kg and nearly the same tension as the Perpetual original A 17.5 kg, the medium gauge Perpetual Soloist A 17.6 kg or Kaplan medium A 17.6 kg or the Passione light A string, Larsen Original soft A, and Versum original A – all which have a 17.6 kg tension. This is clearly a popular range of tension for a light to medium gauge steel A. The 1.36mm gut string has a tension of 14.08 kg when tuned down to G. What I discovered with these extra thick gut A strings (that I really bought for scordatura playing) was that when I tuned them up to A (very carefully!) where they have the same tension as a light or medium gauge steel string, the exact same Sustain effect happened across the instrument!

(see my set up note about this in the Tailpiece / Fine-tuner section below).

The good news about this result is that you can dramatically change the characteristic of your instrument by switching the tension of your A string alone, whether you are using gut or steel! Let’s say you really like how your D, G & C strings feel and play together, but you want want a Darker, more Blended sound from your instrument, use a light gauge A string.

The same goes for if you really like your D, G & C set up but want Louder, more Sustained after ring sound in the body of your instrument, use a heavy gauge A string. For a sustained sound, it seems like the string needs to be at least a 17.6 kg tension to achieve the effect. But strings in the 18.0 or 18.5+kg tensions are guaranteed to give you the extra ring, and more power of course.

Here’s a real example with all wound gut strings where I experienced the difference of changing the A string tension on the whole instrument, re: Sustain vs Blend. I had Passione heavy G & C (both 12.8 kg) with Oliv light D (14 kg) in the fine tuners. With the Eudoxa medium gauge A string (13.2 kg) on top. Even though the lower strings were powerful, heavy gauges and the D string quite thick (Oliv’s are much thicker than Eudoxa), the medium Eudoxa A made everything blend really nice and the whole set up kind of relaxed. It was immediately darker in tone and it helped the whole set up feel supple. When I changed to the heavy Eudoxa A (13.6 kg), and then the light Oliv A (14.2 kg) and medium Oliv A (15.0 kg) strings (successively by order of tension low to high), I noticed the Sustain and power came back to the setup. It also brightened everything up a bit. I noticed that even just going from the medium to the heavy gauge Eudoxa A was enough to get some sustained ‘reflections’ and overtones ringing out in the body of the cello.

So, if you really like the rest of your set up, but want to play around with just swapping in between a lighter or heavier gauge A string of the same brand/style, you can experience a character change in your instrument’s behavior to suit the style of music you are currently preparing. For example, I would go with the medium A string for solo and chamber music, but then put on the heavy gauge A for soloist styles and situations like playing with a loud piano, in front of a orchestra for concertos, when you to pop out in front of a band/ensemble, or for outdoor playing, etc. But I would go with a light A string when paired with a quiet instrument like a plucked lute or classical guitar, for intimate solo sessions and environments where volume is not an issue, or where you will be “close mic’d” or have a clip-on mic – say for a Dance or Theatre performance.


Steel Cold, Smooth, Dark, Outward Projecting, Thin, Separation/Clarity of tone between strings
Gut Warm, Rough, Bright, Wide, Intimate Blending of tone between strings (one sound)

Gut strings have a rougher, warmer, deeper, richer tone. However, the A and D strings can be more harsh or bright than you expect. Sometimes they are buzzing or raspy and other times rustic, throaty, and earthy. It’s a super complex sound, and it can be a little overwhelming to have all of that high frequency content shooting straight into your left ear!

Three styles of winding on the gut C string: TOP – brightest tone is the round wound silver spun C string from Aquila. It sounds gnarly! It’s essentially like a round wound bass guitar string. MIDDLE is the medium smooth polished “semi-flat” wound nickel-silver spun C string from Damian Dlugolecki. It has a great mixture of darker tone, while still bringing enough brightness from the nickel to the instruments low end. BOTTOM is the darkest and smoothest C string of the three, the silver wound smooth polished interior silk wrapped Oliv string from Pirastro. It has a more dull, mellow tone compared to the other two more traditional wound C strings – which you can see, just from the color of the winding itself. The winding alone will give you a good indication of how bright, dark or mellow these strings will sound.

Kindly note that the winding material and style makes an enormous difference for the wound gut G and C strings. The Tone of the low strings will vary wildly from maker to maker. Aquila’s silver wound G and C strings (TOP in Pic) for instance are round-wound in the traditional way, like a bass guitar string, not polished smooth. These were the brightest C and G strings I have ever tired. They are also incredibly thick. I couldn’t quite get the C string to work for my cello, but I LOVED the G string. So Good. Take into consideration that because these strings are round wound, they have “string talk”. A sort of “wwrrrkk/ rrukkkk\” sound as your finger glides over the winding. Also! Your bow hairs get locked in to the C string winding, because it is so huge. You can’t travel the bow down the string, you just sort of get forced into a lane and stay there. Damian Dlugolecki offers the option of a round-wound string or polished smooth, his NiAg gut nickel/silver wound G and C (MIDDLE in Pic) have my favorite tone of all the low strings. Incredible mixture of deep dark colors with a special kind of nickel sparkle that helps the low notes jump out of the instrument and excite the upper harmonics. The polished version of these strings is what I would describe as semi-smooth. There is still some texture there when you rub your finger up and down the string, but it is much smoother than the round wound strings from Aquilla. The winding is pretty similar to the Passione C and G from Pirastro (G Chromesteel, C Tungsten) – both have a little texture to the bands and a really great mix of modern low-end brightness with rich, warm bass depth. The silver wound G and C strings from Gamut are polished smooth and said to be very bright and rich in overtones. I really want to try these strings, I just haven’t had the chance to do so yet. So the round-wound and semi-polished styles of traditional wound gut strings are very bright on bottom and can compete with the modern sounds of steel (in my opinion). But the smoother the polish or plating on the low strings, the more mellow they seem to become. Take Pirastro’s Oliv and Eudoxa G and C strings for instance. The Eudoxa G & C have a more traditional style winding that is mostly polished smooth, so it still has some of that sparkle (like Damian’s NiAg gut), but the low tension results in an extremely mellow, fuzzy sound (especially for the C string). The Oliv strings have the smoothest polish between Pirastro’s Passione, Eudoxa and Oliv string lines. As a result, they have the most mellow, dark tone to me (once they are broken in). I have found the Oliv low strings to have a wider range of tones than Eudoxa or Passione, especially when you start pushing towards the bridge. With the smooth polish on the Oliv, it’s the easiest of the gut strings to travel your bow from the fingerboard to the bridge and it has the best shifting feel. I would say that both the Eudoxa and the Oliv G and C have a darker sound than your typical steel string, but all of the traditional G and C strings (round-wound, no silk wrap) have a much brighter sound than steel. So, the bass strings can be a little tricky to get right for your setup. Just changing the C or G alone, can alter how the rest of the setup behaves and sounds (for instance the Isserlis Setup, pairing an Oliv C with a Eudoxa set).

Steel strings on the other hand have a simpler, smoother, darker tone compared to gut. In fact they really can’t compare to gut in the tone department. Not even close. Steel strings are not actually brighter than Gut – it’s the other way around! Steel strings are thinner and in general more dull and lacking in tone. This is why we need to make much more active use of our vibrato on a steel string, because in general a pure, straight drawn pitch on a steel string is not very exciting or pleasing to the ear, unless expertly bowed… and even then it leaves one wanting more. With gut, there is so much texture to the sound that even an open A string sounds quite enjoyable, so you can do more open or first position playing with resonant pleasing results. Whereas think about how often we shift up on the D string to avoid the sound of the open A string or even a B natural on A on steel strings… With gut you get to relish the open strings and first position.

[*****The exception to this is with the heavy gauge Eudoxa A string or the Oliv A strings, especially when laced directly in the tailpiece. To avoid the Harsh/Crunchy Aluminum sound, try lacing it in the fine tuner instead! (without the cushy felt washer in the way). This will lower the tension just enough to chill out the harsh and crunch of that aluminum A. It worked for me and I hope it works for you! I also found that my Eudoxa and Oliv A strings last longer this way – less peg tuning and less strain on the winding. Let me know if you try this out in the comments below!!]

Concerning depth of tone, it has a lot to do with gauge, regardless of material. If you have a thicker string, you’ll get a deeper, darker, more bass heavy tone (but a slower response). If you have a thinner string, you’ll get a more brittle, harsh, bright or raspy sound (but a quicker response!).

String Talk and Portamento

A follow up note about the winding styles of Gut and the rough texture of plain gut is that there is a lot of string-talk. Portamentos, glissandi, glides and slides do not sound good on gut. Those techniques sound wonderful on Steel and are a integral part of pitch expression for a steel player! However, if you glide on a plain gut A or D string, it can create a nauseating sound. It immediately became apparent why in the old treatises they describe not shifting on the same finger during a passage, but to use a replacement or shift instead. It’s something that makes a lot more sense after you experience it. Doing replacements, diatonic fingerings, or careful shifting on gut gives you a cleaner sound and less string talk. This is such a different approach than how we’ve developed expression and phrasing on steel (*though by the end of the 19th cent., wide use of portamento was popular on gut strings). So when I am on a steel setup, I instantly enjoy implementing same finger shifts and glides. It certainly affects one’s phrasing and fingering choices!

Tailpiece / Fine Tuners / After-length Tension

I have a ‘hybrid’ tailpiece which I can transform by easily taking off the fine tuners to facilitate switching back and forth between steel and gut or hybrid/combo set ups. This may be the way to go for you as well, because it also allows you more flexibility when it comes to after-length tension

My fine tuners sit above the tailpiece and when the string is saddled in the fine tuner, it has a mellow angle, less pressure on the bridge, and a longer after-length (length of the string between the bridge and the tailpiece). This in turn gives the afterlength a lower pitch (after-length rings sympathetically too). For me it meant a little less tension along the playing length of the string; with a brighter tone, a quicker response, and a more “reflective sound”. With that little bit of slack, you can flex the string with the bow a little easier too (for expression).

If you lace your string’s knot or ball end into the tailpiece itself, you’ll create a steeper angle downwards behind the bridge, with more pressure on the bridge, and a shorter after length (with a higher pitch, on my tailpiece at least). For instance, in the fine tuner, my C string after-length sounded as a F natural 3 octaves + a 4th higher (top line of treble staff). When laced in the tailpiece directly, my after-length tuned to a F# a 1/2 step higher. The string will feel stiffer along the playing length of the string, and have a more rigid response under the bow (unless of course you are playing on medium-light to light tension gut strings). You will notice an increase in bass response, and a thicker tone when the string is in the tailpiece, but it will be a little slower to respond and harder to control due to the higher tension on the bridge and overall increase in string tension. This is of course effected by how long or short your tailpiece’s tail-gut length is.

So I was able to adjust the tension, tone, and response of the strings by choosing to lace them either in the fine-tuners or in the tailpiece directly (in combination with a leather riser-pad between the bridge and string, only when needed).

Here’s an example. My Oliv D was feeling a little to rigid compared to some of the other strings I had on surrounding it, so I laced it in the fine tuner (instead of in the tailpiece), and it really opened up. It instantly became more free, subtle, expressive. Easier to press down to the fingerboard, more reactive to the bow changes, and a little brighter. It made it much easier for me to pair the Oliv light D with both the medium and heavy gauge Eudoxa A strings this way!

Funnily enough, for one recent setup, I had the gut Eudoxa A & Oliv D strings in the fine tuners and the rope core steel Perpetual Cadenza G & C strings in the tailpiece directly! This is because I felt like I needed a little more tension and thickness/darkness of tone from the light gauge Cadenza steel strings, and I needed the gut strings on top to free up in their response with a little bit less tension, to meet the quick response of the steel string half way.

[******Sometimes the only way to know is to try. It can be a fussy process, but after trying so many setups over the last few years (and especially in the last 4 months) I have a pretty educated guess on what I have to do for each set up to maximize it’s output for my desired response. And if it isn’t getting me the sound/feel that I want, then I take it into the luthier for further fine tuning.]

Here’s another example, with the super thick 1.32mm+ plain gut A strings laced in the tailpiece (like normal for gut), the string doesn’t respond fast enough to the bow at such a high tension or in the way you’d want for a gut string to play. They are too rigid and you lose the expressiveness you get from a lower tension gut string and it’s tone gets too brittle. My solution to this was to string up my extra-heavy gauges (for other strings too) in the fine tuners, to relax the tension just a little bit and get some of the flexibility and springiness back (I used 2 – 3 leather washers between the knot and the fine tuner prong).

Visual Aesthetic

Gut strings are beautiful, here are some pictures of new strings, so you can see what I mean!

String Response

Steel thinner string + more tension = quicker response
Gut thicker string + less tension = slower response


Steel harder, more bulbous callus
Gut broader, more leathery callus

Forming a callus for steel strings is much more painful than for gut. I just switched back to a steel strings and I have had to rebuild all of my calluses. The thinner, rigid, higher tension steel strings will give you a bulbous hard callus, formed in a very specific spot where you need it most.

I have to be extra careful to take care of my calluses when I play on steel strings, so that it is not painful to play the instrument. People make fun of me for this… the way I choose to use/not use particular types or brands of soaps, being careful about cooking oils, not using hand lotion, wearing dishwashing gloves, waiting for my hands to dry out after a shower before I can play… but I don’t care, because in the end, it is I who experiences the pain of a steel string ripping up soft finger pads… not them!

Gut strings are bigger and have lower tension, so you will get a broader, leathery callus. Your finger tip wraps over the string more, so it is less painful to play (the force is spread out over a wider surface area). Even with relatively soft fingers (say after a shower) I can still sit down and play gut strings. If I tried to do that on steel, I would rip up my calluses! Maybe I just have softer hands in general, but again, simply speaking from experience.

Nail Length (short and smooth)

This is the longest I let my nails get…

Concerning your left hand fingers: generally it’s best to keep your nails very short and buffed smooth, no matter what material you play on. With Steel strings, you have to keep them short and tend to trimming the nail on a regular basis. The strings are so narrow in diameter that if your nails are even medium long, you can’t properly press the string down to the fingerboard with the tip of your finger. It forces you to change to an unhealthy flat finger, “pad technique”. With Gut strings however, the diameter of the strings is so thick that, if you are lazy about it or not keeping track, you can let your fingernails grow a little bit longer and still play on the string just fine. This is because you are making contact mostly with the string, and not the fingerboard. However!! If you are using plain gut strings, you need to be really careful about your nails, because if they are too long or too rough, you can shred the fibers of the strings and that can mean “the beginning of the end…” If your plain gut strings start getting fibrous “hairs” sticking out, you’ll need to clip them with a nail trimmer (handy for both your nails and the string!) and lightly sand it smooth with some 600 grit sandpaper (maybe even finer, depending on the string – let me know in the comments what you like to use!), and then oil the string to re-varnish it a little bit. So for both styles of string, it’s actually best practice to keep your left hand nails short as possible, and buffed smooth. With steel strings, this allows you to touch down to the fingerboard on the fingertips with healthy curved fingers and bent joints. For gut strings, this ensures that you don’t start shredding your string, and potentially kill it prematurely. This will save you money and frustration, trust me!

on the String or on the Fingerboard?

Steel you really play the string down to the fingerboard, the strings are so thin that your finger makes a lot of contact around the string on the fingerboard.
Gut gut strings are so thick & the top of the string is so far from the fingerboard that you are really pressing on the string itself, and the string then makes contact with the fingerboard.

It’s a very different experience playing on gut versus steel in this regard and it’s taking me some time to get used to how to play on the thin steel A & D strings again. You end up straightening the joint (nearest your fingertip) on your first and sometimes second finger & flattening your 3rd finger to use the pad a lot more in the shoulder and thumb positions on steel (depending on endpin length). Whereas on Gut strings, you can really stay curved at your joints in a healthy way at all times, because you don’t have to press down as far. You can curl first finger to the inside of the string on gut in thumb position, something you really can’t do on a thin steel string. So I feel like my finger technique is really solid on gut, and I have to make some uncomfortable adjustments in the higher registers of the A & D strings for steel.

For me, I like a lower endpin length (or no endpin at all) when playing on gut – the cello is a little more vertical and the bow arm hangs lower (more comfortable for me). With steel strings, I need a really long end pin set up to get my fingerboard more horizontal. This allows me to keep a curve in all of my finger’s joints and helps me have a healthy setup for my shoulder as I go up the fingerboard. The drawback is that I find it harder to bow like this…

Under the Bow

Steel generally very springy and responsive, pitch stable under the bow, more tension so they can handle more weight.
Gut affected greatly by bow pressure, you can easily overpower the string or push the pitch out of tune.

This is a tricky one. Part of the expression of Gut strings is having two simultaneous ways to modulate your pitch expression. With the pressure of the left hand (and of course vibrato) and at the same time with the pressure of the bow. Both are at play in a very delicate dance on gut strings. You have to learn a more subtle and expanded bow vocabulary to play on gut and gain the benefits of the medium (and not fight the strings…). It takes a while to learn this new bowing dialect. Pitch is not stable under the bow for gut, and if you try to play like you do on steel strings, it won’t work.

Sometimes I feel like I am inviting the strings into action with my bow on gut. You also will sink down into the string a lot, due to the lower tension, and that takes some getting used to. With higher tension steel strings, you almost ride on top of the string. This area of technique is massively different and is good to know ahead of time that you’ll need to adjust your approach, bow tightness, and rosin to suit the steel vs gut setup.

One issue I ran into with gut C strings being thick with lower tension, is that they move so much side to side that it can be very difficult to play fast separate bow strokes. The string will actually sometimes just stick to your bow and wiggle back and forth without releasing from the hairs…

Bow Tension

Steel wider range of tight or loose bow settings
Gut more specific sweet spot, generally a little looser hair than for steel
(or so I have experienced thus far)

On Gut strings, you have to be a little more picky about your bow tension. I had to have a slightly looser tension than you can get away with for steel, so the hairs could bend, flex and wrap around the thicker strings. With steel strings, you can crank your bow super tight and just start slamming away… but it doesn’t really work like that for gut. On gut strings I noticed that if my bow was too tight, I’d start to get “whistling” sounds, a harsh/brittle tone and a bad response in general.

That being said, you can go too loose for gut strings, resulting in too much stick flex and arm weight will go into the string. This results in a lot of pitch fluctuations … so if your gut strings are toooo responsive under the bow when it comes to pitch manipulation, try tightening your bow bit by bit until you find that threshold where there is enough tension to hold a steady, pure pitch when drawing a long bow, with a little stick resistance in the middle. Think of the tension you feel when pulling a resistance band. You want to feel a little resistance in the middle of your stick, feel the bow working and make sure it doesn’t bottom out in the middle. This will be a good starting point for your sweet spot. Your ultimate spot may lie just a 1/4 turn to a full turn of the screw away from there.

With Steel, you can get away with both looser and tighter bow settings. Steel strings have more tension so they can handle a looser bow setting without your note completely wavering or losing its center of pitch. Because of their higher tensions, they can also handle more bow pressure and a tighter bow setting. So, I’ve found that my bow tightness sweet spot is a lot wider when playing on steel strings. Dialing this in can help offset the lack of expression that a steel string inherently has.


This really depends on the brand of string and the type of hairs, even within the realm of gut. Some rosins that sounded great on certain plain gut or wound gut strings, really didn’t translate to the tone and response of another string makers product. But in general, you’ll need a grippier rosin for Gut to get that mass of string moving! But sometimes even the grippier rosins weren’t the right fit for certain setups and I found myself having to try fine/dark rosins too, in order to dial it in. Some rosins like the Melos Baroque Cello/Bass Gamba or Aquila‘s historically researched rosin formula have a really great combo of grip & glide. Sometimes when I needed a more fine and slightly less grippy rosin, I grabbed the Melos Dark cello rosin, or a Pirastro or Hill rosin. When I needed ultimate grip and dark tone, Kolstein all the way.

In general if you use white hairs, you need to use a lot more rosin. White hairs are finer and smoother, so they naturally don’t have as much grip as black hairs. They will soak up the rosin more, so you can “condition” them with a favorite rosin to help bring out a certain sound and response from your setup. Black hairs (and salt’n pepper) are courser and don’t take up the rosin like white hairs will. You’ll need less rosin in general and it doesn’t take to many passes on the rosin cake to have overdone it. The black hairs tend to shuffle off the rosin anyway, and that’s ok because the hairs are so grippy, you really don’t need much of the sticky stuff! You may find that certain rosins that worked really well with your white hair setups are not the same rosins that work well for your black hair setups… this comes down to trial and error. (example Kolstein is one of my favorite rosins on white hairs, but on black hairs it was overkill: grippy rosin plus grippy hair – it just didn’t work on my setup)

WOW!! You made it to the end! I hope you found this helpful! Let me know in the comments below if I missed any topics that you have questions about. What are your experiences with gut vs steel? Do you have any helpful solutions to share with me and others? Pop it all down there in the comments so we can have more discussion on this very big topic!

Thanks for reading, and as always, Happy Practicing!
~ Brian


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CelloZone! Pirastro Eudoxa & Oliv String Review: for first time buyers (Part 2)

Read >> Part 1
>> New Post! Feb 2021: Gut vs Steel
Part 3 + videos coming…. working on it!

Links to Sets: Eudoxa Medium Set | Oliv Medium Set |

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If you have come back to this Review multiple times and found it helpful, please consider making a donation! I did this review out of the good will of my heart, because there are no reviews out there on these strings (which I found very frustrating as I decided to purchase a set for the first time…) I wanted to share as much info as I could on my experience with these strings for all of you cellists out there who are curious about switching to these gut strings. **I am not sponsored by Pirastro and paid for these strings myself.** Which as you well know, gets very expensive. Your donation will help me offset the cost of all of these strings & gauges that I am reviewing for this series!

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…and I am still using all gut set ups on both my concert cello and “sarangi-cello” (more on that cello in a future post).  I have spent a lot of time thinking about strings, calculating gauges for tension schemes, experimenting with different combos of various brands and string makers. I have a much better idea now of what I like, don’t like, and need from a gut string. Almost a year before I had purchased any gut strings, I had reached out to a couple of viola da gamba playing friends for advice on the subject. Niccolo Seligmann, a fantastic gambist and early music super-nerd, gave me some advice, which I followed:

Start with getting a couple different gauges of each string from Gamut, which is probably the best for its price. Once you’ve figured out what weights (diameter and tension) to use, then you may want to switch over to something more expensive and longer lasting, like Aquila or La Folia… the try-out process is expensive, but you can keep all the not-quite-right strings as spares. It’s always wise to have at least one spare of the top two strings and at least two spares of the top string. 

This advice was for open gut strings, but it applied to the wound gut audition process as well. For instance, getting all three gauges of a Eudoxa a-string is expense, but now I know what works and I was able to re-purpose or keep settled-in spares of the gauges which weren’t right for my instrument or the music I was making at that time.

I have found that I spend more time caring for my cello, making sure the tailpiece, bridge, nut, and peg set up are all staying “healthy”. As a result of learning to play on gut strings, I have made huge strides in my bow technique and left hand precision.  Gut set ups have helped me understand how interact with the strings on a much deeper level. There is a greater subtly required when drawing the sound, as a result a wider range of tone and expression. It has taught me how to open up my articulation palate and push through to a next level of playing. Of course, it might not be the right fit for all types of music, instruments, or aesthetics: that comes down to (1) taste & importantly (2) the conditions of performance. I have used wound and open gut string combos for classical, traditional/world, contemporary, jazz, experimental, etc and have found these set-ups chameleon their way through all of these genres very well!

Over the course of this year, I have tried wound gut strings by Correlli (don’t waste your time), Damian Dlugolecki (Ni/Ag gut) and Pirastro’s Eudoxa, Oliv, and Gold (older wondertones) line strings.  I have also tried plain gut strings by Dan Larsen (Gamut), Damian Dlugolecki, Toro (venice and high twist), and Aquila & Pirastro’s Chorda (not impressed for A-string, but I don use the e’ string for Sarangicello because it is so smooth).  Maybe in another post I will examine these comparisons further, however this post will remain focused on Eudoxa and Oliv strings.  Again this is for the first time buyer.  I have certainly had some frustrating and expensive moments this year, my hope is to let you in on those insights so you don’t have to make the same mistakes.

My current set up (late 2018- early 2019) uses an Aquila plain gut a-string 1.20mm (I love this string!) with Pirastro Oliv light gauge d, G, C. I tied my loop on the a-string in the same style as Dan Larsen from Gamut does. I have made my own leather washers, modeled after the ones available from Gamut, though mine are a little thicker with larger diameter.  I am using two washers on each string to protect the knot, but not to thick as to dampen the vibration from the string to the tailpiece as much as Pirastro’s white a-string washer does. So far, I find this method to be the most resonant between the string and the tailpiece. I’ll probably go back to threading through the loop next time (as pictured on the tenor gamba) to compare for resonance once again.
I had burned through so many a-strings between my sarangi-cello and concert cello, that I was using Pirastro’s a-string washers on each string. But I found that the hole was slightly too big, and it was so cushy that it dampened the resonance between the string and the tailpiece. It also seemed to make peg tuning a little mushy, and resulted in some stability/accuracy issues. So I started making my own leather washers – the resonance improved and tuning was more secure.
This is a tenor viol da gamba (click on photo for detail view) for comparison on “threading through the loop”. You’ll see many Baroque Cello set ups strung this way. This is also how it’s done on Classical Guitar and Pipa lute. I rather like it, it feels very secure and I like the aesthetic. One big advantage is that if your peg slips while tuning or when you are playing, it is very quick to get it back to pitch, because you don’t have to worry about whether your knot slipped through the tailpiece or not. It’s less to double check, because you know it is securely looped in place. You also don’t have to worry about the knot popping through the tailpiece when you get up to pitch (happens rarely, but very scary when it does!) or the string breaking at the knot. When a plain gut string breaks at the knot, it’s not a huge deal, just bring out the string length a bit, and make a new knot! However, for the wound gut strings, I have not had the same luck – for instance when a knot on my A and D string snapped off (on separate occasions), it was not so easy to make a new one, because of the heavy winding and wrapping at the base of the string. The string just didn’t perform the same way after that.
For a while I tried 1/2″ felt-washers, these worked very well, but had a self-adhesive sticky side. I didn’t like that, so I stopped using them.
Here I am transitioning between string set ups. I had all strings looped through the knot, gamba style (common on Baroque setups) and then switch to stopping the knot underneath the tailpiece (can be seen in Classical era paintings and Romantic era photos) – to see which resonated better on my instrument.


Suggested Combos/Sets (no particular order):

Eudoxa medium A, D, G + Oliv light C

Eudoxa medium a, d + Oliv light G,

[ 2020 edit: see Edits & Part 3 for more thoughts on combos ]

Oliv light set

Eudoxa heavy A + Oliv light D, G, C

Tip: If you don’t want to order through my Amazon links above, I recommend ordering these strings through Concord Music and Gabriela’s Baroque.

Bonus Tip: try out a number of different rosins to find out what works best with your various string combosEspecially important if you have a mix of plain and wound gut or a combo of different brands/makers.  


I find the Eudoxa tone to be sweet and delightful, like dessert.  There is a joy and playfulness in my playing, especially when I’m using the a and d string.

Oliv has a hearty, deep, complex tone which feels more like the main course.  My playing is more serious and mature, especially when playing on a full set of Oliv.

I can’t get away with playing on a full set of Eudoxa, (as nice as that would be) unless maybe with medium A, D, G + a heavy gauge C; *but I haven’t tried that yet*…  In contrast, I am definitely satisfied when playing on a full set of Oliv.  In the last article, I gave a few examples of Steven Isserlis playing on his Eudoxa set up with Oliv C.  Here is a good example of the tone capabilities of an Oliv set from Gary Hoffman (with an Evah Pirazzi A-string, from what I can see).  A Hoffman is a very different player than Isserlis.  I think their personalities are well captured by the tonal differences of these string setups. 

Now that I’ve had a bit of experience practicing and performing on both Eudoxa and Oliv strings, I may choose to string up my cello with different combos that suit the circumstance of a recording session or performance. 

For example:

  • playing with piano or contemporary ensembles:     Oliv set
  • playing with plucked strings (like Brothers Grimm):     Eudoxa set
  • solo, unaccompanied:
    (1) Eudoxa A, D, G + Oliv C   
    (2) Oliv D, G, C + Aquila A, Toro A, or Eudoxa A     
    (3) Oliv G, C + Toro A, D 
  • Chamber music:
    (1) Eudoxa A, D, G + Oliv C     
    (2) full Oliv set (medium set link)
  • [ 2020 edit ] Favorite All Around Setups
    (1) Eudoxa medium A, D, G + Damian Dlugolecki NiAg/gut C 38pm or Oliv C     
    (2) Eudoxa heavy A + Oliv light D, G, C  (or Oliv light set)

For a long time, I used to use Jargar A, D and Larsen G, C; which you can hear on The Brothers Grimm 2012 album Redolent Spires (bandcamp / spotify) or on my 2010 original solo cello score for Mary’s Wedding OST (bandcamp).  Often this set up was too powerful for violoncello + classical guitar.  If the Brothers Grimm were going out on tour, I would most likely use a Eudoxa medium set (in this case the quieter C string would be an advantage!).

The warm blend on the Eudoxas with other bowed string instruments is insane, they are perfect for chamber music.  If you need to blend inward, I’d go with Eudoxa.  If you need to cut through or project outward I’d go with Oliv.  For instance, during rehearsals with a pianist for a performance of Schumann’s Fantasiestücke, Op.73 using a Eudoxa set up: I simply could not sing out above the piano without pushing the strings harder than I wished to.  For the performance later that week, I had switched to an Oliv set up and no longer had to fight to project.  I was able to float on top of the piano sound with out over playing the strings.

My cello projects better with Oliv, than Eudoxa.  If you really like the Eudoxa sound on your instrument, but know you need to more power… you may want to try a full set of heavy gauge strings.  It will have more tension, bigger tone and might just do the trick.  In general, don’t be afraid of the thicker gauges, just make sure that your instrument is set up to handle the width, and that the tension scheme makes sense from top to bottom (less of a problem with a set, more of a problem with mix and match).

Here is a great example of Oliv on C, G and Eudoxa A, with plain gut D from Lynn Harrell (with Orlando Cole).  Go for the string sound, stick around for the extended lesson on bow technique!


Thinner string gauges are lower in tension, with a sweet, reedy tone.  Thinner gauges have more treble tone and quicker bow response.

Thicker string gauges have more tension, with a raspy, husky, deep tone.  Thicker gauges have more bass tone and slower bow response.

Less tension results in more flex in the string and a quicker bow response.  But the more flexible the string is, the quicker it will bottom out when you push it with heavy dynamics.  If you often need to play loudly for your style of music, try the heavier gauge string – it can take more bow pressure and give you a bigger sound.  The caveat being that thicker gauges with more tension are slower to respond under the bow.

Set advantages – I really like how the full set feels in the left hand and under the bow.  It’s very nice to have the consistency of bow response, tension, thickness gradient/feel, tone etc across the whole instrument from top to bottom.  (~ with both the Eudoxa medium set and the Oliv light set)

The Eudoxa string response is quick and easy, I liked this for playing unaccompanied solos at events and concerts.  When you mix and match, the response is a bit different for the bow from each brand of string, so you have to change your technique a bit from string to string.  Olivs are stiffer under the bow than Eudoxa, but when using a full set Olivs, it feels very nice and consistent, I doesn’t really feel stiff anymore.

Here are some quick notes from each string gauge I’ve tried:


A –

light – didn’t even feel like a gut string because it is so thin / easy to play all the way up the fingerboard / you may consider this as an option if the rest of your strings are steel / less of an aluminum sound than the medium and heavy gauge

medium – of the three gauges, this is my favorite thickness on my concert cello / great tone / easy to play all the way up the fingerboard / sometimes is a little sluggish to respond compared to the rest of the set

heavy – what I use on my Sarangi-cello / noticeably more tension than the medium gauge, especially up in thumb positions / more power yet it still retains the sweet tone of Eudoxa / very smooth left hand feel.  Pairs very well with Heavy Eudoxa D and with Oliv Light D!

[2020 edit] 
Pros – easy to play, very expressive, beautiful tone 
Cons – winding is easy to damage, string doesn’t last as long as Oliv A, easy to blow-out with too much bow pressure

D –

light – sweetest sounding, but didn’t pack enough punch for me

medium – really great d string, one of my favorites, very expressive / I love the mix of the aluminum and silver, and almost wish that’s what they did for the a-string too!

heavy – heavy A and D play really nice together – really nice balance of expression with a little more power and projection – was very happy with the heavy gauge top strings. 

[ 2020 edit ]
Pros –
easy to play, very expressive, beautiful tone 
Cons –
General problem I’ve been having with the Eudoxa D strings is that they tend to die and go faulty at the transition from Summer to Fall.  With the extreme humidity at the end of the summer and the sudden drop in temperature and dry air in Fall, my D strings have been dying…  So don’t change your Eudoxa D until after fall has settled in!

G –

light – (did not try)

 – at first I was worried it wouldn’t be bass heavy enough, or feel too small in the hand going from the thicker Oliv C the to thinner Eudoxa G, but it really wasn’t a problem at all, and I enjoyed playing on this string very much / sometimes the sound didn’t project forward enough for certain styles – but created a really interesting inward-depth, kind of hard to describe, but was a really unique way to draw the listener in when playing solo. 

This string is actually brighter than the Oliv G string!  This is probably my favorite gut G-string that I’ve tried so far, along side the Aquila G-string.  no wolf-tone issues, unlike the heavy gauge G string.

heavy – held up really well with the Oliv C / big warm bass tone, rich sound / but I felt like the thicker gauge contributed to the tension imbalances on the bridge and caused issues for the surrounding strings with settling in to pitch / projected outward well.  Eudoxa heavy gauge G string has a bigger issue with the wolf-tone, it’s quite prominent on my cello with this cello from e-f-f# in 4th position and b-c in thumb position.  The medium gauge does not have the wolf-tone issue, so far.

[2020 edit]
Pros – Medium gauge is brighter and springier than the Oliv G, hasn’t died due to shrinking-core-syndrome in cold dry weather like the Oliv G
Cons – heavy gauge is too fuzzy sounding and can cause wolf-tone issues

C – 

light – (did not try)

– tone sounded great, very easy response, but just didn’t cut it when it came to power / very big volume and energy drop when I’d go from the medium G to the medium C string

[2020 edit] has better feel when it comes to tension, and almost enough power, but same issue as the heavy G string, it’s too Fuzzy and Dull sounding.  My cello needs a brighter sound in the low end.  But if you have a super bright cello, you may consider this as an option.  

Cons – In general, not powerful or bright enough to carry the low end of my already dark sounding cello


light set

First impression is that I love this set up, the first time I strung up with all Olivs, I thought, “ahhh finally, a full set I can use!” / they bring out a completely new mature sound from my instrument / I almost feel like a Character-Actor when I am playing things like Beethoven or Schumann / very bright for the first week, but then it mellows out, in a very warm way 

[2020 edit]  after a while the strings get a little too dull and dark, still powerful but the low end needs some of that brightness back to balance the high end…


light – great string, powerful – louder than Eudoxa for sure, but slower to respond on quick notes – more uniform but not as expressive as Eudoxa – more like playing a steel string.

medium – [2020 edit] really great string! very powerful, more flexible than I thought it would be – less susceptible to winding damage compared to the light gauge A

heavy – (did not try)

Pros – powerful sound, creamy tone, loud string
Cons – 
string winding separation, just like on the Eudoxa A is a really big (and expensive) issue!  It can kill your string on the first, second or even third session, be careful.  Open A is a bit harsh.


light – very nice string, more pitch stable than Eudoxa, great tone plays well with Eudoxa A and Oliv A, no real complaints about this one. again, more like playing steel than Eudoxa [2020 edit] The more I play this string, the more I love it!  Though it is pretty wide (basically feels like a G string…) it’s quite flexible and expressive.  Feels GREAT for thumb position playing 

medium –
(did not try)

– I am using the heavy gauge d string on my Sarangi-cello and I’ve noticed with both the thicker Oliv (especially the heavy) D strings start to bring out the wolf tone on my cello more.  This is something to keep in mind when finding the right balance in gauge/tension for your instrument.  It hasn’t been enough of an issue to require a wolf-tone eliminator however.

Pros – powerful sound, creamy tone, loud string, maybe my Favorite of the Oliv strings
Cons – 
a bit thick for a D string, can take up a lot of tone and fingerboard space, could change the balance point for your upper arm to get to the A string, and depending on you A string, will make the angle more steep for you to get to A from D during string crossings


light –  great string, while it lasts….

medium – (did not try)

heavy –
(did not try)

[2020 edit] 
Cons – G-string dies suddenly when it gets dry and cold outside, a very expensive and disappointing problem of shrinking-core-syndrome – more about this is Part 3


light – when paired with Eudoxa med set, this over comes the volume/energy imbalance of the Eudoxa C / but response and tone are quite different / can get nice and growly when you push it –

medium – (did not try)

heavy –
(did not try)

Pros – Matches well with the Eudoxa strings, helps pull some brightness and overtones out of the cello (compared to Eudoxa C)
Cons –
G & C start to sound too dull to me after some time 


I can settle the string up to pitch in two days.  Meaning for the first two days, there is a lot of peg tuning consistently throughout the practice/restringing session.  On the third day, when I take the cello out of the case, it’s usually pretty close to pitch and I just have to give it one little turn at the peg and re-tune a couple of times after it adjusts to the room.  Most of these strings have fully settled into pitch after 1 week.  I play every day, which I think helps to quicken the breaking in process (maybe I am wrong).  

I perform 100+ shows/gigs per year, and often I found my self planning when to change a string by what type of performance was coming up the next week.  In most cases, I changed the string(s) at least 1 week in advance of a concert.  This was usually enough time to break in the string and not have any issues with stability during the show.  There were a couple of times that I had to change the string 1-2 days before a performance….  This wasn’t ideal, but I was able to perform successfully in all of those cases.  I carefully monitored if my pitch dropped, double checking my tuning quietly with a clip on tuner in between movements & pieces.  A number of times I performed with the clip on tuner, just to be sure I could lock in my tuning on the new strings; no one complained.


It seems like the Oliv set is more pitch stable than the Eudoxa set.  I believe it is due to the higher tension of the string.

Having the right gauges and tension scheme actually contributed more than I initially thought to stability.  Having the bridge and nut properly widened is also important.  You don’t want the winding to get caught on the bridge or the nut, especially with all of that peg tuning you’ll be doing.  When I had the medium gauge Eudoxa a & d with the heavy gauge G and Oliv light C, I had a little trouble getting the low end to settle and stay in pitch.  The tension across the bridge was not balanced.  With complete set (medium Eudoxa set & light Oliv set) I felt the strings settle into pitch faster and hold their tuning better.  I have experienced some intense pitch swings on the low strings due to weather extremes. In August, when it was very humid, I pulled my cello out of the case and my low C was down to AA!  Sometimes I would put it away in the case, after having played in a’=440 and when I pulled it out of the case the next day, my cello would be perfectly in tune at a’=415!  Another time, during rehearsal there was a very hot and humid thunderstorm happening but with the air conditioning on full blast and during the finale my C string surprised me by drifting up to C# (luckily the section was in Db MJ…).  In my experience this year, if it is humid+hot the strings will drift flat, if it is dry+cold the strings will drift sharp.  If it is humid+cold… things get really weird and floppy, good luck.  On my cello the thicker lower strings are affected most by the humidity/temperature changes.    


For as much as I love these strings and highly recommend them, I have had an unfortunate winding separation issue on both Eudoxa AND Oliv A-strings.  This has been the most expensive and frustrating part of the learning process.  I already voiced not being crazy about the aluminum edge to the sound of the a-string in Part 1.  There is a crunchy squeak sound on the surface if you don’t hit it just right with your bow.  I’ve had a rough go at it this past year with the a-string winding separating from the gut core.  From the very first string I installed, this happened, in fact some of the issues I ran into with the a-string going false (see Part 1) was actually the result of the winding separating from the gut core.

String 1 – Look around 1st and 2nd finger area of first position on the A-string, and you can see the winding starting to separate along the vibrating length of the string. The string will start to sound false after the damage increases.
String 2 – If the winding separating happens approaching the nut, it’s basically game over. If you are already up to pitch and this happens, I’m sorry, your string is now dead. If you are still bringing the string up to pitch and this happens, see string 3 >
String 3 – this is what will happen once a damaged, separated winding has to pass over the nut… It will drag on the nut and get worse and worse, game over…

If you install the string and and the winding separates or goes false, even after taking the precautions of widening and lubricating the grooves at the nut and bridge and lifting the string occasionally at the bridge to reset the winding: contact Pirastro directly about getting a replacement string. I have been in contact with Pirastro about this issue and sent them my faulty strings to be analyzed. I have received replacements for all damaged strings, but I’d rather not have to do the international shipping dance over and over again…

Tip 1:  Make sure the groove at the nut has a wide enough channel so it doesn’t pinch the winding – especially at the center point of the nut, where the string is bending the most.  The winding is so thin and flexible on the A and D strings that it sort of ‘flattens out’ a bit where it bends over the bridge and nut. You can take your instrument to a luthier with your set of strings to have this done.  Maybe suggest that they widen it out slightly more than the string width to give it enough space to move freely and not get pinched due to this slight flattening effect.  Pinched winding will be the quickest way to kill your A string and lead to general tuning and pitch instability!!

For those who are DIY: I’ve been doing it carefully myself with 400, 600, & 1200 grit sand paper, strips of leather, blunt sewing needles, rasps, and graphite (maybe a luthier will comment suggesting otherwise – please do, we’ll all learn!).    [ 2020 edit:  Just go to a trusted Luthier and have them cut new grooves at the nut to fit the strings – maybe consider having a new bridge cut, a little bit higher than your steel set up (to accommodate and balance out the lower tension strings) with grooves that fit the wound gut strings.  Keep your old bridge around, so you have one bridge for complete steel string set ups and one bridge for gut string set ups.  Also have the luthier adjust the soundpost for a gut-string tension set up too. ]

Tip 2: Wrap the neck of the cello with a cushy cloth where the strap goes over the string (see pic below). I believe this strap-wear contributed to some of the separation around first position, which began the swift death for three of my A-strings.

[ 2020 edit: general wear and tear from playing will breakdown the winding in first position and any other commonly played area on the A-string (like at the octave harmonic), especially Eudoxa, because the winding is so thin and delicate.  This is only an issue on the A strings.  But anything you can do to protect the winding will help it’s longevity. Again, make sure the grooves at the Nut and Bridge are properly cut by a luthier!! ]

Tip 3: Peg Dope – use a peg lubricant like Hill Peg Compound. Available at most string shops for $10, this really helped my friction peg tuning. The pegs no longer “stick and jump”: I am able to turn the peg slowly and smoothly in a controlled motion without excess force to achieve very small and accurate pitch changes, like when using a fine tuner. Using peg compound in combination with winding the string close to (but not touching) the peg box wall helps to prevent peg slips.

CURRENT SETUP (late 2018- early 2019)

My current set up uses Oliv light gauge C, G, and D strings with an Aquila plain gut A-string (1.20mm), for a’=440Hz playing. I got to frustrated with the winding issues on the a-strings and needed a break from that.  So I’m going with an open gut a for now and am very happy with the sound! The Aquila a-string is fantastic, shout out to Curtis from Aquila USA for helping me find a diameter that would match the tension of my Oliv set. …I haven’t given up on the Oliv a string just yet, I do plan on using a full Oliv set for future projects, but I’d like to have a luthier look the nut before I install a new one.

Which string combos have worked well for you with Eudoxa &/or Oliv? Are there other brands that you find pair well with these strings? Wound gut, plain gut, synthetic, steel core? Best rosin pairings? Please share your experiences, I’d love to hear about it! Also comment below if you have string care suggestions or helpful installation techniques.

I hope you found this review helpful! More details, thoughts and tips coming soon in Part 3. Thanks for reading & happy practicing!


New! You can now donate directly through this webpage! Your donations will help me continue to review strings and setups & provide online lesson content.


If you found this Review helpful, please consider making a donation! I did this review out of the good will of my heart, because there are no reviews out there on these strings (which I found very frustrating as I decided to purchase a set for the first time…) I wanted to share as much info as I could on my experience with these strings for all of you cellists out there who are curious about switching to these gut strings. **I am not sponsored by Pirastro and paid for these strings myself.** Which as you well know, gets very expensive. Your donation will help me offset the cost of all of these strings & gauges that I am reviewing for this series!

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Cello Zone! Pirastro Eudoxa String Review (for 1st time buyers) Part 1

Part 2 here
>> New Post! Feb 2021: Gut vs Steel
Part 3 + videos coming…. working on it!

Detail 1: Three different ways to secure your gut string to the ebony tailpiece. C & G strings are looped, like viola da gamba or classical guitar. D-string is laced, with the knot catching underneath the tailpiece. Eudoxa A-stings have a ball end with a thick cushy washer, so I have it saddled in the fine-tuner.

Links to Sets: Eudoxa Medium Set | Oliv Medium Set |

String Gauges for Part 1

the “Isserlis” set up

I recently had a month away from my cello while it was being repaired for some damages caused by United Airlines (more on that in another post). During the interim, I was researching both plain and wound gut strings to outfit my cello(s) with. It became clear that a lot of my heroes – Pau Casals, Pierre Fournier, Jacqueline Du Pré, Daniil Shafran, Steven Isserlis, Pieter Wispelwey – have used wound gut string set ups. It was high time I gave it a try.

Now, I don’t know which gauges British cellist Steven Isserlis uses... but I know that his set up is Pirastro Eudoxa for A, D, G & Pirastro Oliv for C. [ Edit from Steven: “I use 21 ½ gauge A’s , and normal for the others. I use the A strings for c 6 weeks, others till they break!” ]

Isserlis is a benchmark among modern cellists for the tone he draws from the cello. He is famous not only for his wonderful performances of cello repertoire, but also for his decades long use of Eudoxa strings, handmade by Pirastro in Germany. If it’s good enough for him, then it’s certainly good enough for me!

[ 2020 edit (see Part 3 – coming Dec 2020) ]

I suggest starting out with Medium Gauge Eudoxa A, D & G with a Light Gauge Oliv C string.  Then work from there if you need to adjust the gauge of any string individually to balance your instrument’s sound and response.

Here is my Recommended First Time Set-Up!

[ 2020 edit]

This is not an ad – just keep scrolling for the review… Before we get to the review, I want to mention that I can now take donations directly through this website! If you found these string reviews helpful, please consider donating. Thanks!


If you found this Review helpful, please consider making a donation! I did this review out of the good will of my heart, because there are no reviews out there on these strings (which I found very frustrating as I decided to purchase a set for the first time…) I wanted to share as much info as I could on my experience with these strings for all of you cellists out there who are curious about switching to these gut strings. **I am not sponsored by Pirastro and paid for these strings myself.** Which as you well know, gets very expensive. Your donation will help me offset the cost of all of these strings & gauges that I am reviewing for this series!

Help me to create more helpful content by making a monthly donation!

If you clicked on this tab, you are my hero! If you want to help me sustain quality online lesson content, please consider making a yearly donation! Your donations ensure that I can afford to spend the time producing this online material.

Choose an amount


Or enter a custom amount


Thank you so much!!! It really helps a lot and will allow me to do more gear reviews in the future.

You rock, thanks so much!!

Thank you so much for helping me do this! It really goes a long way and your support means a lot. <3 BCG

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In this Part 1 Review, I used this setup, based on what I knew of Isserlis’ set up at the time and what I thought would make sense on my cello…

Here’s the Set Up for this Review

The new strings have been on for a three weeks now. I love the tone they produce, there is a complex, vocal quality to it. They feel nice under the fingers and allow you to sculpt each note. This is exactly the sort of color and depth I felt was lacking from my steel string set ups. It’s a robust round sound, rich in harmonic content and full of resonance. Quite honestly, they are much louder than I anticipated. I know the stereotype is that gut strings are quieter than steel, and maybe this is more to do with projection or is about steel vs plain/open gut … but I must say that on *my cello, these wound gut strings are actually louder than the steel string set ups. *Loudness results may vary from cello to cello… I’m having the opposite problem, I can’t seem to play quietly enough. So much so that I’ve had complaints from my upstairs neighbors about the volume being too loud when I am practicing. (this will depend greatly on your setup, and string choice)

Initially, the G/C strings seemed too stiff and limited in their range of expression via variation in tone. However, they have since opened up a lot. Now it is easier to bow near the fingerboard and activate the string quietly. At first I felt trapped into pushing towards the bridge for every note, just to get it to speak. There is a limit to how aggressively you crank on these strings, especially on the low end. You can’t bend the string to your will with crushing down bows. It won’t respond the same way, it certainly won’t give you the sound you want. There is a lot more subtlety to be explored in the sound and the technique.

Detail 2:   [**2020 Edit: the Loop on the G & C should sit more flush to the tailpiece, it was my first time trying that set up.  You’ll see what I mean in future photos in these posts]   Here you can see the “ball end” with cushy “washer” on the a-string. My a-string was and friction peg were fighting the tension a bit when I had it threaded underneath (like the d-string). So after a week, I switched to saddling it in the fine-tuner and it hasn’t given me any trouble since. This may have to do with the added downward tension behind the bridge when threading in the tailpiece vs saddling in the fine-tuner – where it sits higher. I looped the low strings, because they held tension better and were more secure on my cello that way. You can keep it simple though, and thread all of the strings like I have the d-string, just let the knot catch on the underside of the tailpiece.  

Pros & Cons


The tone is incredible (see video above). Many of my adult students (and student parents) being more familiar with what a cello sounds like, immediately remark at the Eudoxa’s beauteous sound. With a nice ebony wood tail piece and the gut string set up, it feels like I turned on a super wet reverb inside the cello!

Gut strings have been the sound of bowed string instruments for centuries! Steel strings only came into prominence in the 20th century during WWII when sheep gut was hard to come by and steel was cheaper to use. Playing on gut puts you in touch with centuries of tradition and helps you understand the repertoire of the past (from 1940’s back to the 1600’s) in a deeper tactile way.

Eudoxas are uniquely flexible all the way up the fingerboard! I feel more relaxed when playing in thumb position. Planting the thumb and fingers down to the fingerboard two octaves up the A&D strings is easier to do than on steel.

The staccato and spiccato bow strokes sound is unreal on these strings. I truly feel I’ve never executed a proper sounding staccato or spicatto stroke until using gut. The bite is there, but it’s still a round note unlike steel where it can sound only like the bite and nothing else.

Pizzacato feels/sounds AMAZING. If you are a jazzer or get into chordal playing, definitely give these strings a try. It makes me feel like I’m playing fretless bass guitar, Jaco style. Pizz has never sounded so lush on my cello!

Shifting is very enjoyable and fun to do on this set up (which I can’t say for most strings).

Eudoxa strings are not as expensive as one might think! A full set of Eudoxa is about $250, whereas an equivalent set of Larsen Magnacore (steel) or Thomasitik Versum (steel) runs about $350-$400. These are professional, high end strings used by such greats as Isseralis and Jacqueline du Pré. While Du Pre was transitioning from plain gut to steel strings, she used Eudoxa C, G and Prim (steel) D, A – as you can see and hear in the video below. Again, if Eudoxa is good enough for THE Jacqueline du Pré, they are good enough for little ole me!


The obvious one (no getting around it) – gut strings have a longer break in period. New steel Larsen Magnacore strings are said to break in within an hour. It has taken two full weeks for my Eudoxa strings to settle up-to pitch and into tension. I spent hours playing in the strings everyday, tuning constantly throughout each session. My (friction) peg tuning skills have much improved as a result! – Update: For this entire 3rd week I haven’t had to peg tune my strings once, they have held steady at A=440Hz! Wohoo!

More subject to temperature and humidity changes. (This can be a deal-breaker, depending on where you live, or at the very least lead to some major frustrations…)

Animals definitely died in the making of these strings… they are not vegan-cellist friendly.

The Intonation Game

Sometimes it feels like you are chasing intonation around the fingerboard for the first couple of weeks. The strings are all going out of tune at slightly different rates. Because the strings are thicker, rolling your finger from back to front results in a much larger sweep of pitch. There is a bit of retraining for how to place the finger and correct the intonation. Some of these issues are break-in period ones. Now that the strings have settled in and relaxed, it feels mostly back to normal when placing and adjusting the finger to achieve good intonation.

I could foresee a couple of issues for some players/cellos in respects to the low strings: they may feel too chunky; be slow to speak; have overpowering bassy low end; not bright enough lows for your instrument to cut through; vibrate too widely for your string spacing (I can get the C string to vibrate so widely that it hits my G string!); have trouble getting the edgy tone that one can get from a tungsten wound steel string.

My one tonal complaint is with the aluminum winding on the a1 string. It sometimes sounds tooooo much like aluminum. You get a gross sound sometimes when you portamento. The toothy crunching crinkle winding-tone comes out harshly if you don’t get the bow tilt and placement just right, especially without enough rosin on.

The sweet spot on a gut string during the break in period seems to be very specific. If you aren’t listening to the physical feed back loop of the string<>bow interaction, you’ll get a false sounding note, or it may not even speak at all. Certain high register notes are particular to speak; some of the wolf-tone notes of a string can go false or simply disappear on you – if one is not using the proper bow speed, placement, pressure/weight, tightness.

Wound gut strings demand respect from you, the player. With both left hand pitch and point-of-contact for the bow – the feeling is similar to having a feral cat or rescue dog in the house for the first time. You can’t necessarily predict how they will react and behave so you are on your toes, more ready for a slew of possible outcomes. With steel strings, it’s more like having a domesticated dog or cat, you can predict fairly accurately how they will behave in each situation.

On many cellos, the strings may be too wide/thick for your bridge &/or nut – you may need to get those re-cut or altered by a luthier.

Winding Up

The first recording I ever heard of the Bach cello suites was by Pau Casals. These recordings from the late 1930’s were given to me by my Classical teacher Janet Marshall. She was part of the generation of cellists following after Casals in the mid 20th Century. Both Casals and Marshall had an incredibly powerful yet simultaneously beautiful sound. When I play on this Eudoxa gut string set up, I feel that the sound of Casals comes out of my cello. I hear all of those lessons with Janet playing back in my head, how she sang phrases and demonstrated passages with the highest passion and musicality. Playing on these strings feels like being home.

In Part 2 & Part 3 (coming Dec, 2020) I will review a Full Set of Eudoxa Meduim + Full Set of Oliv Medium Gauge strings with more thoughts on combos. Stay tuned and Happy Practicing!


New! You can now donate directly through this webpage! Your donations will help me continue to review strings and setups & provide online lesson content.


If you found this Review helpful, please consider making a donation! I did this review out of the good will of my heart, because there are no reviews out there on these strings (which I found very frustrating as I decided to purchase a set for the first time…) I wanted to share as much info as I could on my experience with these strings for all of you cellists out there who are curious about switching to these gut strings. **I am not sponsored by Pirastro and paid for these strings myself.** Which as you well know, gets very expensive. Your donation will help me offset the cost of all of these strings & gauges that I am reviewing for this series!

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Cello Zone! Rosins I Use

“Which cello rosin do you use?”

…. is actually a question I am rarely asked!  This overlooked cake of hardened tree-goop not only allows us to bow the string*, but also plays a large part in our tone production.  Without rosin the bow hairs can’t grip the string, no matter how hard you bow… it makes no sound, except for a “fffffttt” noise.

I suggest that students apply a few coats of rosin (3 to 10 strokes, ΠV) before each practice session, rehearsal, & performance.  Partly for consistency, but also to avoid injury.  Without enough rosin on your bow, the hairs won’t properly grip the strings.  To compensate for the ensuing bow-slip, you will tense up and over-work your right arm; resulting in an injury similar to tennis elbow.  However, there is such a thing as over-rosining your bow.  If it’s too thickly coated, your hairs will get stuck in the string.  This results in a bow-tripping sensation much like stumbling from catching your toe on the sidewalk.  We’re looking for that Goldilocks principle: not too much, not too little – a few coats of rosin is just right.

With so many brands and prices, which one do you choose?  Thankfully, Johnson String Instrument Shop has made it easier for me to share the rosins I use via student wish lists!  Here are some recommended cello rosins for: (I) Students (II) Professionals and (III) …surprise! Percussionists.  [2020 edit: I am updating all of my product & gear purchase links across the whole website this year]

Live in Sun Prairie?

email Prairie Music & Arts:  info@prairiemusic.org,

cc: bgrimm@prairiemusic.org

Live on the west side of Madison?

email Monroe Street Arts Center:  info@monroestreetarts.org

cc: brian@monroestreetarts.org

Cello Rosins I Use –  For Students

Pirastro Cello Rosin

Pros:  Generally used in Spring/Summer (humid seasons); for light, fast playing.  Cuts well, can add an edge to your bow tone.  There are a lot of Pirastro rosins to choose from (almost too many…), surely one among their variety should be ample to cover the tone and grip needed for your particular strings: see here.

Cons: Heavy powdering, can irritate sinuses.  Sometimes tone is too bright and thin for classic cello repertoire.  Doesn’t grip as deeply as I need for power playing.

Still not sticky enough for you?  Buy the Pirastro Bass Rosin, it works great for cello too!

Pirastro rosins have been developed and produced in Offenbach, Germany for over 200 years. Pirastro Cello Rosin is an amber color medium grade rosin specially formulated for use with cellos.

Hill Dark Rosin for Violin, Viola and Cello

Pros:  *Rosin of choice for two of my go-to luthiers!  Use as a final polishing layer in combination with other rosins; fine smooth feel with medium tone; not over-grippy.

Cons:  For a professional cellist, this rosin doesn’t grip strongly enough to stand on it’s own.  However, for students on smaller sized cellos (1/4, 1/2, 3/4, etc) it should do splendidly.

Hill Dark Rosin (green), the ultimate rosins, used by professionals worldwide. The Hill Brand rosins are wrapped in their own padded velveteen shell. This is the rosin that others strive to emulate. Used for violin, viola and cello, the amber (light) is slightly hard and has moderate powder. The dark (green) is slightly softer and grips better than the amber.

Professional Cello Rosin

Kolstein Cello Rosin

Pros: For the last decade this has been my favorite rosin!  Generally used in Fall/Winter (drier seasons); for heavy, rich playing.  More and more, I’ve been using it all year round.  The tone is complex, gorgeous.  Very grippy, results in a powerful deep sound.

Cons:  This rosin may be too sticky and coarse for some sets of lighter gauge strings.

Kolstein & Sons, Ltd. produces an outstanding rosin using their Ultra Formulation Supreme recipe. Very minimal powdering and excellent grip equate to quick response and consistent sustain for both the veteran and beginning cellist. A good rosin for players with respiratory difficulties.

Melos Baroque Cello & Bass Viol Rosin

Pros: Wow, I love this Baroque cello/viol rosin.  Though it’s made for traditional sheep gut strings, it still plays wonderfully on modern metal-core/wound strings.  Incredible glide, with even grip from fingerboard to bridge on all strings. Lighter tone than Kolstein; plays smooth; a finer grade.  It feels as if the bow hairs are melting into your string, like a hot knife through butter.  No harsh squeaking sounds on the A string.

Cons:  Have yet to find any, this stuff is near perfect in my book.

Melos Baroque Cello Bass Viol Rosin is superb for use with period instruments using gut strings. This Baroque version rosin is stickier than rosin for their modern counterparts. Melos founder Christos Sykiotis, himself a cellist, explains it this way: “The gut string sounds not easy as a metallic string. We shouldn’t press the bow in order to play so we need a stickier rosin to play easy.” Melos rosins are made in small batches from Greek pine resin and other natural ingredients.

Try a combination of their two modern cello rosins:  Melos Dark (fall/winter) & Melos Light (spring/summer) Cello Rosin

Rosin for Percussionists

Kolstein All Weather Bass Rosin – I originally heard about Kolstein rosin a decade ago from a professional double bassist (and have loved it ever since).  This past weekend, I premiered a composition by percussionist Garrett Mendelow.  This duo piece included three sections: (i) guqin zither + pedal board, tape, singing bowls and crotales (ii) tabla and Indian cello (iii) bowed vibraphone.  We tried my Kolstein rosin on the bass bows + my Tatsuya Nakatani beach wood cello bow on the vibes.  The tone was delicious.  The vibraphone bars played smooth and spoke well.  OK percussionists, the secret is out! Get that Kolstein bass rosin, it’s even stickier than the cello version – you won’t need much.

Speaking of percussionist Tatsuya Nakatani… I had the immense pleasure of performing in his Nakatani Gong Orchestra this September.  It was hands down, one of the most unforgettable performances of my life. What a tremendous honor to learn directly from the bowed gong master himself (thanks Scott Gordon of Tone Madison for curating)!  I’ve been using one of Tatsuya’s hand made Nakatani-Kobo bows for about 3 years.  I love it.  The tone, the bite, the feel, the articulation…. his bows are incredible.  They are designed for gongs and cymbals, so I tried it on the vibraphone.  The Nakatani-Kobo bow spoke much quicker and with less pressure than a (often over tightened) double bass bow.  Percussionists, these bows are made for bowing metal, check them out.  I asked Tatsuya which rosin he prefers to use, his answer was: Pops Bass Rosin.

Alright Cello Zone studio, that’s all for today’s post.  I hope you find this helpful when selecting your next cake of rosin!  Follow the blog, like us on facebook and share with other cello friends.  Leave your comments below, what’s your favorite brand of rosin and why?

Happy Practicing!

Brian Grimm