Questions: Wound G Classical Strings

by Jeffrey R. Elliott

Originally published in American Lutherie #109, 2012

Scott from the Internet asks:

Who uses wound G classical strings, and why? I’d think they’d provide better sustain, less inharmonicity, and, for instruments that don’t have separate saddle intonation for each string, better intonation up the neck. But is it a personal choice thing, or are there specific performance reasons, or what?

Jeffrey Elliott from Portland, Oregon replies:

I believe people use wound G strings for different reasons that include trying to overcome the limitations you mention of plain nylon Gs. Some flamenco guitarists I know have used nylon-wound G strings because they have a slightly textured sound that lends a husky, breathy quality they feel is desirable. In addition, most classical guitarists I know who use wound Gs (either metal or nylon wound) do so because the tonal character of the plain nylon G string is often just simply unmusical — that is, thick, dull, and synthetic sounding — and obviously out of character with the rest of the set. This has become less of a problem with improvements in nylon string manufacturing technology in the last fifteen to twenty years and with the introduction of carbon fiber and other materials for the trebles. Consequently, I’ve noticed far fewer guitarists using wound G strings. However, while solving most of the problems associated with the older nylon strings, some of these newer materials have introduced another set of tonal characteristics that many find objectionable. Carbon fiber in particular, while bright, clear, projecting, and consistent in response along the fingerboard, can be too much so, significantly narrowing the guitar’s tonal spectrum of response and limiting the expressive range for the musician (and listener!). Even so, today’s guitarists and guitar makers are fortunate to have a far greater choice in achieving the sound they hear in their heads than fifteen or twenty years ago. ◆