Aquila Saiteninformationen

Saiten Typ Artikel Code
Nylgut Saiten
-- Nylgut blank 1,2 m -->> NG ...
-- Nylgut blank 2 m -->> NGE ...
-- Nylgut loaded 1,2 m -->> NGL ...
-- Nylgut umsponnen -->> NGW ...
-- Nylgut umsponnen DE-Typ
Produktion eingestellt - Restbestände noch erhältlich
-->> NGWDE ...
-- Empire Period Harp Bass Wound Saiten -->> NGEH ...
-- Harfen Saiten -->> NGH ...
-- Aoud Saiten arabische Stimmung -->> AQOA ...
-- Aoud Saiten türkische Stimmung -->> AQOT ...
-- Ukulele Saiten -->> AQ UKU ...
Darmsaiten
-- Darm blank lackiert, 120 cm lang -->> AQHV ...
-- Darm half rectified, 120 cm lang -->> AQHR ...
-- "Venice" gut, 120 cm lang -->> AQV ...
-- Darm blank geölt, 120 lang
Produktion eingestellt, Restbestände vorhanden
-->> AQHT ...
-- loaded Darm -->> AQC ...
-- Darm umsponnen -->>
-- Bunddarm -->> BDA ...
-->>
--

Nylon blank
Produktion eingestellt

-->> AQN ...
--
Gitarrensaiten
-- Konzertgfitarre -->>
-- Biedermaiergitarre -->>

New Nylgut® Strings (NNG type)

INTRODUCTION

The development of a new synthetic material that can imitate the acoustical characteristics of gut but without the typical defects such as high cost, short string life, and severe instability to changes of climate, has always been a fundamental goal of our research. The New Nylgut® represents the fruit of this research and is a good synthesis of the acoustical properties of nylon and of PVF (carbon) strings. TECHNICAL CHARACTERISTICS AND FIELD OF APPLICATION
The New Nylgut®, distinguishable for its gut color, has the same gut's density (gauges are the same of the gut) and acoustical qualities similar to that material. It should be considered the first "synthetic" version of the natural product. Other strong points of the New Nylgut® are its' elevated resistance under tension -greater than that of gut (till 305 Hz/mt) - but even more important is its extraordinary immunity to changes of climate, considerable superior to that of nylon and gut, thereby guarantying an insuperable stability of tuning under normal conditions. The New Nylgut® can be used advantageously for the substitution of nylon and gut strings for plucked string instruments such as lutes, guitars and harps(modern harps included). For example, the New Nylgut® strings are particularly well suited for the 1st through 5th courses of the renaissance and d minor-baroque lutes, FRETS INCLUDED.
Special length (200 cm): see the NGE type.

Notice:
The New Nylgut® is liable to suffer from cutting edges. Before stringing the instrument do make sure the nut and bridge are free from sharp edges and the nut grooves not too deep and perfectly smooth. You can get rid of sharp edges with very fine grit sandpaper (600, for example) or the finest steelwool (000).
The best sound quality develops when the strings have completely set, which may ordinarily take sometime. To achieve a stable intonation in just a few minutes you can repeatedly pinch each string at midlength with your fingers, pull it decidedly sideways and tune it up again. Stop when the string does not pull out of tune anymore.

BRACKING INDEX (average's datas on a gauge of .40 mm)
-Gut: 230-270 Hz/mt
-Nylon: 250 Hz/mt (Tynex Du Pont polyammide 6-12)
-PVF (fluocarbon): 305 Hz/mt
-White Nylgut: 240 Hz/mt
-New Nylgut: 305 Hz/mt

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New Nylgut® Strings (NGE type)

INTRODUCTION

NGE elastic strings, diameters from .62 to 1.45 mm; length: 200 cms.
Colour: like gut

FIELD OF APPLICATION
These strings are specifically designed for particularly long diapasons of Archlutes, Chitarrones and Theorbos.
Their main feature is certainly their prompt and bright acoustic performance, comparable (as Theorbo diapasons) with that of loaded gutstrings, noticeably superior to that of plain gut. Also to be noted is the remarkable resistance to wear and tear and the stability against climatic changes.
For the first time it is used a special version of new Nylgut, i.e. partially elastic.
The percentage of elasticity introduced in the basic molecule is fully controlled by us and allows an even excellent performance in the low frequencies compared to the NGE strings of old production. Thanks to their flexibility these strings bend without any effort at the bridge holes.

WARNING
The diameter of NGE strings is now expressed in 'equivalent gut'.
The strings are marked with a letter NGE preceded by a number indicating the diameter of the equivalent plain gut. So for example the string 140 NGE indicates a string that corresponds, for calculations, to a natural gut of 1.40 mm. Of course, the actual diameter of the string is different but at the same frequency it will have the same working tension of a gut string of 1.40 mm.
In conclusion, 140 NGE string will not have an actual diameter of 1.40 mm while the working tension will be the same of a gut string of 1.40 mm.

ATTENTION:
In order to obtain in a few minutes a perfectly stable intonation we advise to pull laterally and with gentle force each string while tuning and continue the tuning process until the string stops decreasing in pitch.

Note: gauges are expressed in hundred of millimeters (i.e. 120 = 1.20 mm)

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New Nylgut® Strings loaded (CD type)

Loaded Synthetic Lute Bass and Meanes Strings CD type

…there is another sort of strings, which they call Pistoy basses, which I conceive are none other than thick Venice-Catlins, which are commonly dyed, with a deep dark red colour.”

(Thomas Mace “Musick’s Monument” London 1676)

INTRODUCTION

The appearing of wound strings caused, starting from the end of the 17th century, the definitive abandoning of the ancient manufacturing techniques of the traditional all-gut bass strings.

This explains why modern plain gut strings fail to produce an acceptable acoustical performance in the low registers, thus making it unavoidable to use wound strings for musical repertoires that actually pre-date their historical appearing; this, in turn, causes an obvious philological paradox as well as serious tone and balance problems between high and low registers.

Here are some important points:

  1. A large number of bass stringhole diameters recorded from original Lute bridges dating from the late 16th and 17th century shows that those holes are too small to allow plain gut strings a sufficient working tension at the proper pitch.
  2. Musical iconography from the 17th century also shows often bass gut strings of quite different colors from that typical of plain gut, varying from dark red to brown only.
  3. Some treatises of the XVII Century  wrote that strings possessed a remarkable duration of sound and acoustical exuberance (see: Mersenne ‘Harmonie Universelle’, Paris 1636; ‘The Mary    Burwell Lute Tutor’, 1670 ca; Thomas Mace: ‘Musick’s Monument’ London  1676).

All these things suggests an hypothesis: the loading of gut, a technological strategy that we believe employed by the ancient string-makers in order to render the strings to be used in the low registers more performant.

The CD types are smooth synthetic loaded strings  characterized by a high, standardized specific weight, achieved by a loading extruding process with metallic copper powder made in the range of 115 CD till 220 CD.

Diameters smaller than 115 CD are manufactured with an half loading degree, in order to be useful for the  4 & 5th Lute courses (called  in the far past ‘Meanes’) . We  do not use Mercury or Lead compounds; we use thin metallic copper powder (that is not toxic)

Basses 115 CD-220CD: reddish brown color
Meanes 70CD-110CD: dark yellow colour
Surface: raf; same of rectified gut

ACOUSTICAL PROPERTIES AND FIELD OF APPLICATION

Strong, warm  and percussive tone, without the excessive brightness typical of modern wound strings, perfectly coherent with the tone and dynamics character of gut strings as well a synthetic strings. Excellent tuning stability; far better than any plain gut, synthetics and wound strings available today.

WHAT MEAN A 140 CD?

To keep calculations simple and make it possible to use any available string-calculator, CD  synthetic loaded  strings, as well as wound Nylgut ones and the D type, are referred to by a letter following a number indicating the theoretical equivalent diameter of a solid plain gut string.
E. g. “140 CD” stands for a loaded string (indicated by the letter “CD” ) corresponding to a high twist gut of 1.40 mm. in diameter. The actual diameter of the strings is, of course, smaller but under playing conditions it will have the same working tension as a gut string of 1.40 mm. diameter at equal pitch and same string length.

Note: gauges are expressed in hundred of millimeters (i.e. 120 = 1.20 mm)

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Lute Wound Strings (D type)

INTRODUCTION

First quality wound strings with vernished copper wire, manufactured according to our best experience. The innovative idea was to employ a Nylgut® multifilament core (very stable to the moisture changing) and to partly limit the production of the very high overtones giving the metallic edge that is generally present in the strings of this type and never welcome by early music lovers. The thinner strings, the ones more subject to wear-and-tear, are protected by a light superficial vernish which also grants a longer playing life. Diameters are expressed in equivalent solid gut (i.e. a 73D = .73 mm gut string)

THE EQUIVALENT SOLID GUT
To keep calculations simple and make it possible to use any available string-calculator, C type loaded gut strings, as well as wound Nylgut ones D and DE types, are referred to by a letter following a number indicating the equivalent diameter of a plain gut string.E. g. "140 C" or "140D"stands for strings (indicated by the letter "C" or "D") corresponding to a plain gut string 1.40 mm. in diameter. The actual diameter of the strings is, of course, smaller but under playing conditions it will have the same working tension as a plain gut string of 140 mm. diameter at equal pitch.

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Lute Wound Strings (DE type)

TECHNICAL FEATURES
These strings consist of a Nylgut® multifilament core (characterized by a remarkable stability in climatic changes) with copper wires over-varnished. Diameters: from 1.00 to 2.50 mm, expressed in equivalent solid gut.

FIELD OF APPLICATION
These strings were specifically designed for the deep basses of archlutes, d minor-lutes, theorbos with shortened extention, but also for the basses of regular Renaissance and Baroque lutes, if you prefer a more fundamental oriented sound. The innovative characteristic of our DE strings lies in the fact that they were specifically conceived to best reproduce the timbric and acoustical qualities of our C type loaded gut strings, which are strongly fundamental oriented. Standard Length: 140 cm.

THE EQUIVALENT SOLID GUT
To keep calculations simple and make it possible to use any available string-calculator, C type loaded gut strings, as well as wound Nylgut ones D and DE types, are referred to by a letter following a number indicating the equivalent diameter of a plain gut string. E. g. "140 C" or "140D"stands for strings (indicated by the letter "C" or "D") corresponding to a plain gut string 1.40 mm. in diameter. The actual diameter of the strings is, of course, smaller but under playing conditions it will have the same working tension as a plain gut string of 140 mm. diameter at equal pitch.

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Historical Harp strings (NGH type)

Advice
These strings are made for historical harps only.

About the New Nylgut®
The development of a new synthetic material that can imitate the acoustical characteristics of gut but without the typical defects such as high cost, short string life, and severe instability to changes of climate, has always been a fundamental goal of our research. The New Nylgut® represents the fruit of this research and is a good synthesis of the acoustical properties of nylon and of PVF (carbon) strings.

TECHNICAL CHARACTERISTICS AND FIELD OF APPLICATION
The NGH strings (made with the New Nylgut®) are distinguishable for its gut color, has the same gut's density (gauges are the same of the gut) and acoustical qualities similar to that material. It should be considered the first "synthetic" version of the natural product. Other strong points of the NGH strings are its' excellent resistance under tension -greater than that of gut - but even more important is its extraordinary immunity to changes of climate, considerable superior to that of nylon and gut, thereby guarantying an insuperable stability of tuning under normal conditions.

Notice:
To achieve a stable intonation in just a few minutes you can repeatedly pinch each string at midlength with your fingers, pull it decidedly sideways and tune it up again. Stop when the string does not pull out of tune anymore.

BRACKING INDEX (average's datas on a gauge of .40 mm)
-Gut: 230-270 Hz/mt
-Nylon: 250 Hz/mt (Tynex Du Pont polyammide 6-12)
-PVF (fluocarbon): 305 Hz/mt
-New Nylgut (NGH type) : 305 Hz/mt

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Empire Period Harp Bass Wound Strings NGEH

(calculated for a'-415 Hz.)
INTRODUCTION
Since the beginning og the XIX century harps employed silk wound bass strings.
This is why the old fashion harp bass strings produce a so different sound than the modern ones, made with nylon multifilaments. The development of a new synthetic material that can imitate the acoustical characteristics of silk but without some typical defects such as, for example, the instability to changes of climate, has always been a fundamental goal of our research. The Nylgut® multifilament represents the fruit of this research: Nylgut®'s multifilaments has the same silk's density.
Other strong points of Nylgut® are its' elevated resistance under tension -greater than silk- but even more important is its extraordinary immunity to changes of climate, considerable superior to that of nylon and gut, thereby guarantying an insuperable stability of tuning under normal conditions.

String lenght: 160 cms

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High Twist Gut HT/HR

INTRODUCTION
The origin of the employment of gut to make musical strings is lost in the mists of time. Along the centuries manufacturing techniques were gradually refined until they reached the perfection unanimously recognized as the trademark of Italian and French stringmakers in the 17th to 19th century.
The scope of our work, supported by constant research and painstaking experimentation, is to offer natural gut strings produced by modern craftsmen working in the ancient Italian/French string-makers manufacturing criteria that for centuries has been passed on from one generation to the next, sure to offer you the very best of our tradition and aiming to reach the magic of sound that only gut, of all materials, can achieve.

TECHNICAL SPECIFICATIONS AND FIELD OF APPLICATION
First choice plain gut strings for general use in high and mid registers. All strings more than 0.50 mm. in diameter are exclusively high twist and undergo a specific processing aiming to ensure maximum elasticity and grant the best acoustical performance, ease of attack and long playing life, as proven by many acoustics and wear-and-tear tests.
The new product we offer instead of the varnished gut strings are the semi-rectified strings (HR types).

String -varnishing is a modern treatment which was never used historically (gut strings were kept in olive or almond oil) and its sole purpose is granting a longer string playing life. But this happens at the cost of other aspects, the most important being a loss of sound quality, brightness for example, but also the bowing attack is not as efficient as with unvarnished gut. The surface of the demi- rectified strings is only partly rectified, imitating the manual polishing techique of the time just to obtain a true string.
With this method the amount of fibers damaged by the abrasive action is noticeably reduced as compared with strings rectified with modern procedures. The advantages are: better stability against climatic changes, longer playing life and better acoustic performance. We tested these strings for a long time: they best imitate historic hand- polishing in that they damage only a small amount of gut fibers as compared with current rectifying methods.
The advantages are:
an improved stability by climatic changes, longer playing life (similar to those of the vernished ones) and superior acoustical performance.
Owing to the special manufacturing technique employed in the production of the demi-rectified string type, the diameters in this table indicate a mean value. E.g. a 66 string indicates, in fact, a possible diameter-window between 65 and 67.

Please notice:
Gut is liable to suffer from cutting edges. Before stringing the instrument do make sure the nut and bridge are free from sharp edges and the nut grooves not too deep and perfectly smooth. You can get rid of sharp edges with very fine grit sandpaper (600, for example) or the finest steelwool (000).
The best sound quality develops when the strings have completely set, which may ordinarily take sometime. To achieve a stable intonation in just a few minutes you can repeatedly pinch each string at midlength with your fingers, pull it decidedly sideways and tune it up again. Stop when the string does not pull out of tune anymore. Note: gauges are expressed in hundred of millimeters (i.e. 120 = 1,20 mm) gut gauges on the tables are considered at the making standard condition of 20 ° C and 60 % degree of humidity.

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Venice gut roped strings ( V type)

(suitable for mid and bass registers only)

INTRODUCTION
In the 16th and 17th century in iconographical sources the strings on musical instruments are depicted as smooth, rather curly and, in the tract coming out of the peg box, they are often bundled up like they were made of soft cord. This suggests that at time the strings were extremely pliable, which would obviously affect their acoustical performance. On the contrary, modern gut strings, because of their stiffness, can only be made up in circular coils, lest they get damaged. Starting from this important observation and supported by other historical information we created our " VENICE " strings.

TECHNICAL SPECIFICATIONS AND FIELD OF APPLICATION
The Venice strings possess a remarkable degree of elasticity and pliability, superior to any strings currently on the market. This means a surprisingly ready attack and good richness in upper overtones. Available in a wide choice of diameters and lengths, the VENICE strings are particularly suited for the mid registers of Renaissance and Baroque stringing, e.g. as 2nd and 3rd Violin, 3rd and 4th renaissance- Gambas (Tenor and Bass expecially); Lute 4th & 5 th, 2nd and 3rd Violone etc. The new product we offer instead of the polished Venice gut strings are the semi-rectified ones.
The surface of the half- rectified strings is only partly rectified, imitating the manual polishing techique of the time just to obtain a true string. With this method the amount of fibers damaged by the abrasive action is noticeably reduced as compared with strings rectified with modern procedures. The advantages are: better stability against climatic changes, longer playing life and better acoustic performance.

We tested these strings for a long time: they best imitate historic hand- polishing in that they damage only a small amount of gut fibers as compared with current rectifying methods. Owing to the special manufacturing technique employed in the production of the half-rectified string type, the diameters in this table indicate a mean value. E.g. a 120 V string indicates, in fact, a possible diameter-window between 118 and 122.

NOTICE
Because of its nature a Venice string stretches noticeably more than a regular high twist string, which leads, under equal stress, to a somewhat thinner diameter.
Hence the necessity to use a thicker starting diameter: under working stress it will settle to a diameter similar to that of a regular string's and will eventually lead to the same working tension. In practice the correct diameter of an equivalent Venice string is obtained by multiplying the plain high twist string diameter by 1.07.
Example: what is the right Venice string equivalent to a 1.16 mm plain gut?
Answer: 1.16 X 1.07= 124.12 (i.e. 124 V)
Notice: Due to their great elasticity Venice strings are not suitable like bowed instrument's 1st strings

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Loaded Gut Bass Strings (C type)

"...there is another sort of strings, which they call Pistoy basses, which I conceive are none other than thick Venice-Catlins, which are commonly dyed, with a deep dark red colour."
(Thomas Mace "Musick's Monument" London 1676)

We would like to inform all our customers that, due to some works required for enlarging our company (new machineries, new productions etc.) we are compelled to stop production of loaded strings type "C. We are really sorry for any inconvenience this may cause you.

INTRODUCTION
The appearing of wound strings caused, starting from the end of the 17th century, the definitive abandoning of the ancient manufacturing techniques of the traditional all-gut bass strings. This explains why modern plain gut strings fail to produce an acceptable acoustical performance in the low registers, thus making it unavoidable to use wound strings for musical repertoires that actually pre-date their historical appearing; this, in turn, causes an obvious philological paradox as well as serious tone and balance problems between high and low registers. A large number of bass stringhole diameters recorded from original Lute bridges dating from the late 16th and 17th century shows that those holes are too small to allow plain gut strings a sufficient working tension at the proper pitch. Musical iconography from the 17th century also shows often bass gut strings of quite different colors from that typical of plain gut, varying from dark red to brown only. Treatises of the time confirm, too, that strings possessed a remarkable duration of sound and acoustical exuberance (see: Mersenne 'Harmonie Universelle', Paris 1636; 'The Mary Burwell Lute Tutor', 1670 ca.).
All this suggests an hypothesis: the loading of gut, a technological strategy that we believe employed by the ancient string-makers in order to render the strings to be used in the low registers more sonorous.

Completely re-designed!
Special smooth roped gut strings (like ours VENICES) characterized by a high, standardized specific weight (twice than natural gut) , achieved by a loading process with metallic copper powder. Diameters smaller than 180 C are manufactured with a gradual loading decrease, in order to keep the otherwise excessive brightness of sound of the thinner strings under control and at the same time to obtain a higher tensile resistance and a longer playing life. Reddish brown color,oiled surface.
We DO NOT use Mercury or Lead compounds; we use metallic copper powder (not toxic)

ACOUSTICAL PROPERTIES AND FIELD OF APPLICATION
Strong and warm tone, without the excessive brightness typical of wound strings, perfectly coherent with the tone and dynamics character of gut high strings. Excellent in staying in tune, better than any plain Gut, Nylon Nylgut and wound strings available today. Indispensable for Renaissance and Baroque stringing till the 1st half of the 17th Century, in the strictest respect to authenticity.

WHAT MEAN 140 C?
To keep calculations simple and make it possible to use any available string-calculator, C type loaded gut strings, as well as wound Nylgut ones D and DE types, are referred to by a letter following a number indicating the theoretical equivalent diameter of a plain gut string. E. g. "140 C" stands for a loaded string (indicated by the letter "C" ) corresponding to a high twist gut of 1.40 mm. in diameter. The actual diameter of the strings is, of course, smaller but under playing conditions it will have the same working tension as a gut string of 140 mm. diameter at equal pitch.

Notice! These strings are made for basses only. Please do not use them as cello 1st & 2nd, Gambas 3rd & 4th; Viola da braccio 2nd.

Attention: loaded strings type "C", because of their particular complexity, may suffer of a certain uncontinuity in production. Delivery time may therefore be longer, thus delaying the shipment of other types of strings included in your order. We do apologize for any inconvenience and ensure that we are working in order to find a proper solution to avoid any problem.

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Gitarrensaiten

INTRODUCTION

Until the mid-20th century the top three strings of the guitar were mounted exclusively in gut, a material that had been used for thousand of years and that combines excellent promptness of attack with brilliance of timbre - very different, in other words, from modern nylon strings. And until recently the typical sound quality of gut has been a constant point of reference for lute-makers, composers and performers alike. A fundamental aim of our research has therefore been to make a new synthetic product having the same acoustic properties as gut - but without its typical defects - (high cost, limited duration and high instability under varying climatic). Nylgut® has precisely these qualities: allowing one, on the one hand, to rediscover the sonorities familiar to the great 19th and 20th century masters; and guaranteeing, on the other, a stability of tuning higher even than that of the best gut and nylon strings.

Please notice

Just like gut, Nylgut® is liable to suffer from cutting edges. Before stringing the instrument do make sure the nut and bridge are free from sharp edges and the nut grooves not too deep and perfectly smooth. You can get rid of sharp edges with very fine grit sandpaper (600, for example) or the finest steelwool (000).

-The best sound quality develops when the strings have completely set, which may ordinarily take sometime. To achieve a stable intonation in just a few minutes you can repeatedly pinch each string at midlength with your fingers, pull it decidedly sideways and tune it up again. Stop when the string does not pull out of tune anymore.

CLASSICAL GUITAR SETS

ALCHEMIA

Set with two degrees of tension. The first three strings use monofilaments of rounded, polished Nylgut® \"synthetic gut\". Its features include promptness of attack, acoustic projection, excellent timbre and a truly remarkable stability of intonation, not to mention an admirable evenness of tone with the overspun basses. The basses have a multifilament core in a material of new conception (Nylgut® multifilament), specially wound with pure silver, that boasts high resistance to tensile stress and stability under varying climatic conditions. Using pure silver ensures the highest possible response in terms of timbre and volume, lower interference from finger noise and durability above the norm. The overspun strings have also been designed according to the principle - again absolutely new - of progressively increasing the dynamic performance of the bass register to compensate for the human ear\'s natural tendency to perceive lower frequencies less audibly.
 

Romantische Gitarren / Biedermaiergitarren

GUT & SILK 900 (1880-1946 performances)

Up to the middle of the 20th century, the only available strings for guitar were plain gut for the trebles and wound on silk core for the basses.
Their acoustical performance was quite different from that of modern stringings. The salient characteristics were a marked timbric presence, response and brightness typical of the thinner gut strings (certainly superior to plain nylon and in some respects closer to PVDF or carbon) while the basses, on the other hand, possessed an exquisitely vocal quality, i.e. not so bright as, and with less sustain than, modern wound on nylon strings and more fundamental heavy.
The Treble tension- profile is not true scaling (like in use in all of the modern guitar\'s sets): it is just ligthly scaling, like the standard of that time.
This set which is made with only one degree, of tension, riproposes excatly a historical assembling, tipycal of the period of Llobet and Tàrrega by using oily gut for trebles and wound basses, silver-copper covered on silk, as it was said by Pujol in the \"Escuela Razonada de la Guitarra\" of 1934.

Notice!
Gut is liable to suffer from cutting edges. Before stringing the instrument do make sure the nut and bridge are free from sharp edges and the nut grooves not too deep and perfectly smooth.
You can get rid of sharp edges with very fine grit sandpaper (600, for example) or the finest steelwool (000). The best sound quality develops when the strings have completely set, which may ordinarily take sometime. To achieve a stable intonation in just a few minutes you can repeatedly pinch each string at midlength with your fingers, pull it decidedly sideways and tune it up again. Stop when the string does not pull out of tune anymore.

AMBRA 900 (this is the syntetic version of the \'Gut & Silk 900 set)

Up to the middle of the 20th century, the only available strings for guitar were plain gut for the trebles and wound on silk core for the basses: their acoustical performance was quite different from that of modern stringings.
The salient characteristics were: a marked timbric presence, response and brightness typical of the gut strings (certainly superior to plain nylon and in some respects closer to PVDF or carbon) while the basses, on the other hand, possessed an exquisitely vocal quality, i.e. not so bright as, and with less sustain than, modern wound on nylon strings and more fundamental heavy.

Our Ambra set was developed keeping in mind this historical fact, in order to best re-create, by means of modern synthetic materials, the sound of Llobet and Tàrrega. This set was conceived for one grade of tension and cosists of Nylgut® - true synthetic gut, we are tempted to say - for the trebles, adopting the representative mean diameters as indicated by Pujol in his \"Escuela Razonada de la Guitarra\" from 1934 (less scaling tension than the modern gyuitar trebles), while for the basses (silvered copper wires wound on Nylgut® multifilament core) we tried to find the right balance between wire and core, which would recreate exactly the typical sound of the wound silk strings of the time.