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Today, I put my first set of Thomastik Infeld on my new Heritage Gretsch. I switched from a set of .013 D'Addario Chromes and went to the .012 Jazz Swing set. I was pleasantly surprised at the result I got. The guitar literally came alive which is something I know someone else had written in another thread. Acoustically, the sustain was greater, the sound was clearer, cleaner and more punchy. Electrically, it was still smooth, sweet and clear. The Chromes are good strings but the TIs I must admit sound better to me and since it's a lighter string, my leftmhand doesn't cramp anymore like it did with the .013s. A big thanks to all you players out there that recommended TIs.
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08-29-2012 09:37 PM
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I'm a newcomer as well, and not to hijack your thread (because it's pertinent, I think), if you don't mind...
WHY are the TI strings so popular for jazz over standard electric strings? What is it about them and jazz that apparently mix so well together? I play plain ol' GHS Boomers on all my electrics, have for 25 years, and have no plans to change. Including on my Grestch hollowbody. But I got the Epiphone Broadway and immediately put TI (rounds) on it, mostly because of all the raves here. I do like them, but it begs the question- "what do the TIs got that 'regular' electric strings don't"?
Eventually, I'll answer my own question when I change my strings, but I figured alot of guys here would already have their answer. Would love to hear it.
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Hiya HFC,
I try different cables now and then and always end up back at your new T-I JS112. Just ideal for me.
Glad to hear it works for you.
Chris
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Ruger, you bring up an important question about strings. What makes one set crap and another perfect is beyond me also. One difference is that the Jazz Swings are flat wound nickel wrapped while the usual flatwounds are steel. I would try round wound nickel but the problem is I get too much finger squeak and my fingers tend to stick or drag over the rounds.
When I used GHS flatwounds, set 1000, the strings sounded dead to the point that the low E had no sustain and went thud. A similar thing happened when I used D'Aquisto strings. The Chromes were the first set I used that sounded decent to my ears until I tried these TIs. There's got to be some reason why one string vibrates differently than another but danged if I know what it is.
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Over the past 2 years I have spent hundreds of dollars trying every brand of flats and half rounds.
Originally Posted by hot ford coupe
Chromes lasted the longest in my favour until I tried TI Benson's. I was in love with those for a while but the articulation on the bass strings on the higher frets was bugging me. There were overtones and very small sustain which made the notes sound false. (play your 6th string on the 13 fret....how does it sound?)
Then I had a brief fling with GHS half rounds and then Labella.
Then it happened. I tried TI Swings. Game over for me. My L5 is the most stunning sounding instrument with these on. They are bright but not nasty like Chromes. They slowly tame down over a couple of weeks but they never get that false "plunk" sound on the higher frets of the bass strings. So beautiful with chords.
If they stop making these strings then I'm toast!
I've been using them for about 6 months now and I'm starting to stockpile them.....just in case.
I always replace the first 2 strings with D'Addario .014 and .018 though.
I just got used to that gauge and I like the way they sound.
I hope you continue to enjoy them Hot Ford Coupe.
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I used TI for a long time. Only reason I switched brands was curiosity and wanting to see what other sounds I could get.
I use La Bella .12's now and I've currently settled on those, but I think TI's are just as good sounding. I find there are subtle differences when you find two very good brands and compare them.
What I like about La Bella is the feel and ease of playing, and the longevity.
The only problem I had with the TI Bebop strings was that they seemed to become greasy. I always wash my hands before playing guitar to prolong string life, and it never happened to other string brands. That's the only downside I can think of regarding the TI string, and it can easily be solved with a string conditioner.
Those who like a heavier string feel will love the TI George Benson .14's. I used those for a while. They are expensive but have a really big sound.
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When I first got my Broadway, I put the TI Swing Flats on, simply thinking "that's the way to go", and they sounded like they were old enough to vote. Totally dead sounding (on this guitar). I couldn't get them off the guitar fast enough. Then I put the TI Swing rounds on, and voila! That's what I wanted to hear. But it has me wondering, if TI rounds are simply normal round strings (or are they?) I could get by with much cheaper GHS strings that I already love... that's why I was wondering if there's some formulation on construction difference in the TIs that make them better on large hollowbodies? Originally Posted by hot ford coupe
I have thought, if I ever want to try flats again, for the strings themselves (being flat), I will put on the bone-saddle bridge I have, as on this guitar, with the standard wood bridge, they are just too dead. But a metal or bone bridge I think would help alot (by brightening things up/adding clarity).
Next string change, I'll see if I can find a set of GHS 12's to put on there, and report back...
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I have never tried GHS, but I think Barney Kessel used them at some point - FWIW. Some speak about the TI strings like there is magic involved in their production. But of course there is not. It's just that they happen to be the taste of many jazz players. I used D'A Chromes 13-56 (with the two first strings swapped for 14 and 18) for many years. I have used TI Swing flatwounds 13-53 off and on the last couple of years. The difference between them and the D'A Chromes is the more "dead" and soft tone of the TIs as compared to the D'A Chromes' more bright and ringing tone (halfway towards roundwounds). Part of the difference is due to the TIs being Nickel wrapped while the D'As are stainless steel wrapped. But thats not the whole explanation. I also have some sets of La Bella Flatwound 15-56 lying around and they have the deadest A and low E strings I have ever come across though they are stainless steel wrapped. Some say it's due to some change in the manufacturing process - which La Belle denies. I also have acouple of set of the old batch in the drawer which I will try some time. Right now I have a set of D'A Chromes 14-56 on my Painter. Originally Posted by ruger9
Those who like the typical 1950s sound (think Jim Hall, Herb Ellis and Tal Farlow) usually like the TI flats, while those who like Kenny Burrells more singing/ringing tone often go with the Chromes or roundwounds.
Actually, when new, the wound strings of a D'A chromes set is a bit brighter than the plain B and E strings (especially if you swap the 13 and 17 with 14 and 18) but when they have been on the guitar for one or two weeks, the wound strings calm down while the plain strings stay where they are so the whole set ends up quite nicely balanced soundwise. The wound strings last for many, many months. Some manage to keep them going for more than a year. I replace the plain strings two or three times before the wound ones eventually wear out.
Ah, yes - then there are Pyramid nickel flatwounds. Each string sounds pretty good but the set is very bass heavy, and I can't adjust a HCC pickup in a humbucker mount enough to level it out. I couldn't live with that, so they only stayed on the guitar for one day. I think Chris (PTChristopher) had the same experience. So I have two new and useless sets of Pyramids in the drawer .... oh well.
To make a long story short: I don't think there's any shortcut around trying out several brands and kinds to find out what we/I like. As always tastes differ, and "one man wants the mother, another man the daughter, and that way both get married".
But maybe, when we have found something we can bend to our will, it may be worth it to stick to that. It's much like a saxophonists choice of mouthpiece. Some use the same mouthpiece for years, like Lester Young (first a metal Link for 10 years then a Brilhart for 17 years) and Ben Webster (a metal Link for decades). Others hunt obsessively and in vain for the - not existing - "perfect mouthpiece", like John Coltrane who literally had drawers and shelves full of new but immediately discarded mouthpieces, which he gave away to other saxophonists who used them happily for years. Classical clarinettists have a saying about a faithfull old mouthpiece they have come to know really well: "This one knows all the operas". The same can be said of our guitars and their setup. A guitar with a setup which we have become closely accustomed to is comfortable like a pair of well worn in slippers.
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Indeed, strings, plectrums, amps etc are a personal taste thing.
I'm just glad that we have so much choice and I'm happy to have finally settled on a set that pleases me.
Having used TI Benson flats on my GB10 and 775 and L5 and Painter in the past I have to point out that TI Swings are VASTLY different.
Although both sets are flat wound the Swings are much closer to the sound of Chromes but not quite as bright.
Not trying to convince anyone here. Just pointing out the difference for those who have not tried them.
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I keep coming back to TI Flats. I first put them on my EPI Joe Pass and the improvement was immense
, though to be fair, I had until then only been using Rotosounds which were 
. It was a case of "there's the sound i want, right there!" as soon as they went on.
However, when I acquired my Vestax D'Angelico NYL-5, there were Chrome 11's on there. Replacing them with TI Swing 12's had the same effect as on the Epi, but at a much higher level because it's such a good guitar. The sound seem to open up and bloom; and I feel able to try new stuff in my playing because I know that the guitar/string combination will respond.
That still doesn't stop me trying stuff, however. Changing strings is, other than trying a different pick, about the cheapest and easiest way to experiment with your sound. Have just bought some La Bella Black Nylon Tape jobs and will try them tonight. Nevertheless, I have a set of TI Swings standing by just in case.......
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I've got a set of TI Swing 11 flats that I've been meaning to put on my 335 for months to replace D'A 11 nickel roundwounds with a wound 3rd. I'm inspired to make the change now. I already tried the D'A 11 Chromes and hated them. Took them off minutes after I put them on.
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What did you not like about the Chromes?
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I think the TI Bebop strings are fantastic. They are clear, but aren't harsh.
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TI- Round wound Bebops, 14-55. I'll never go back to anything else.
My teacher just gave me one of his old old picks--it's actually a real tortoise shell pick, and the clarity it delivers is very discernible, right off the bat. (I don't think you can make picks from tortoise shells, anymore).
TI's maybe expensive, but. the cost of these and a good pick can make a huge difference in sound. Which is pretty damn cost effective, I think.
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Messing with the strings is sure a lot less expensive than buying new amps and pickups. Thanks all of you for your great input on the TIs. I just ordered a bunch more sets from my dealer. They may be expensive but I think you get what you pay for.
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Strings and Beyond currently 10% off T-I (still more expensive than in Europe).
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Been using TI George Benson for six years now. My Framus AZ 10 fits with them perfectly. I use my thumb 90% of the time and the heavy gauge of this set makes playing bright and responsive.
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Check out thrift/charity shops and flea markets for japanese tortoise shell dishes. Originally Posted by NSJ
I picked one up from a rubbish bin that was at the back of a local shop. The dish was part of a companion set with what should have been an enamel swallow motif but was worn off. It was split, warped and worn, it had a japanese character etched on the back. I fashioned a small pick from one edge, really nice to use.
As for TI, they make a whole load of instrument strings as well as for guitar. I suppose they've transferred bowed string quality to guitar string tensions?!? What ever they do they do it right for these old hands and ears.
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I like TI Swing and GB!!!
A few weeks ago I also use the Plectrum Series for my acoustic: are excellent! Has anyone tried it?
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I have tried both the Plectrum and the Spectrum on my acoustics. I like the Plectrum 12s. In general the TI strings have a different "feel" in that they seem to have a little less tension in them. I could be just me. Also check out the Spectrum 12s. They have a flat wound G and a 59 gauge low E. I had to ditch the 59 as it was just too different to my ear. Great strings.
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I bought my first fully hollow guitar, a 2006 Epiphone Joe Pass, in late summer of 2007. A day after I got the guitar, I installed a set of TI Jazz Swing .012 flats on it. The guitar gets played just about every evening and has rested on a stand in my basement cave since 2007. I have never wiped those strings down and have changed out the pickups two times slackening the strings and removing the bridge to get access. They still sound good. A bit more mellow with a bit less highs than when new. I will not change them until breakage or some little piece of the string comes off and rips into my finger. I have Chromes on my Tele clone and prefer them for their darker tone with that guitar. I have had a new set of TI Swing flats for at least two years. My wife gave me those for Christmas. I will probably not install them until I get a new guitar to try them on. Originally Posted by hot ford coupe
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[Socalbill]>>> In general the TI strings have a different "feel" in that they seem to have a little less tension in them.
As sometimes happens, a little objective info can be nearly-interesting.
T-I sets generally have a more consistent balance in tension. This means lighter bottom strings for a given size of top string.
Back when the ever-silly Ernie Ball brand was pushing "Light top - Heavy Bottom" sets, I did work for the #1 session and pit guitarist in Boston. On his axes he used a mixed set of strings that was heavy on top and light on the bottom. The sound was wonderfully balanced and easy to play. He was there to make great sound for $$$, so cut the crap and go for what pays the rent as efficiently as possible.
The T-I sets are particularly BS-reduced, and objectively optimized and ready to make sound. The rest is up to you.
No connection with T-I and no intent to ever write ad copy (Thank god).
There are many fine string brands out there. But when it is time to cut the crap and make music, the balance of the T-I sets works most of the time.
With the exception of the BB 112. I get rid of the dopey .020 plain G and substitute a T-I wound .021. Go figure.
All in my opinion.
ChrisLast edited by PTChristopher; 08-30-2012 at 12:42 PM.
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I just received an order of TI "Jazz Swing" flatwounds (.011-.047) but won't put them on for a few days yet, maybe a week. Look forward to hearing how they sound. (I used them once before, about ten years ago, on another guitar and don't remember much about them other than they lasted a l-o-n-g time.)
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I still read your name as Marker Hodes. Sorry.
I love the TI "Jazz Swing" flatwounds (.011-.047) on my Tele. Almost too light. Absurdly easy to play.
Chris
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How do the TI Swings sound acoustically? Most of my playing/practicing is acoustic fingerstyle with both carved and laminate guitars. I have considered trying TI Swings but didn't know if there would be much difference until plugged in.
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