The references discussed here describe the catalogue’s medium-tension, 4/4 violin configuration. Match the size, series and product code on your packaging with the individual item before ordering. Another version requires its own compatibility check. The word Superflexible alone does not establish instrument size, end fitting or suitability for every instrument on which a string can physically be attached.
Choosing Thomastik Superflexible
| 4/4 set | E string | A string | D string | G string |
|---|
| 15 | 9, aluminium wound | 10, chrome wound | 12, chrome wound | 13, chrome wound |
| 15A | 8, chrome wound | 10, chrome wound | 12, chrome wound | 13, chrome wound |
What is inside sets 15 and 15A?
Both sets contain the same A, D and G strings. Set 15 includes E string 9, which has an aluminium winding. Set 15A instead includes E string 8, identified as Chrome wound. The letter A in the set reference therefore does not mean that this is the set with an aluminium-wound E. When replacing an existing set, check the individual E reference instead of reconstructing the contents from a suffix or packaging colour.
If your three lower strings already suit the violin and your playing, an E-string comparison does not necessarily require replacing the complete set. Check the individual string’s size, tension and fitting first. Changing one component makes the result easier to interpret because it is not combined with simultaneous changes to the A, D and G. Keep the old packaging so that you can reproduce the preferred arrangement later.
Core construction and winding are different specifications
The Superflexible chart uses Rope core for each of the four strings, while the outside winding is listed separately. An aluminium-wound E does not consequently have an aluminium core, and the words Chrome wound do not describe the complete internal construction. Use the verified combination of family, reference, core designation and winding when comparing products, without assuming an undisclosed material recipe.
The name Superflexible is not a promise of the lowest tension or identical left-hand comfort on every violin. String height, vibrating length, nut condition, fingerboard geometry and the player’s habits all affect the experience. If stopping notes is persistently difficult, have the setup checked before trying to solve the problem through a series name alone. A different string cannot automatically correct an unsuitable action or a damaged contact point.
Comparing the two wound E options
Both E options in this configuration are wound: reference 9 uses aluminium and reference 8 uses the catalogue’s Chrome wound construction. They should not be described as two versions of an ordinary plain wire E. Compare them through quiet note beginnings, crossings from A, sustained bow strokes and passages in higher positions. These exercises reveal more about practical suitability than one loud open note immediately after installation.
Winding material alone cannot guarantee a particular result on every instrument. The room and listening distance also influence what you hear. If recording the comparison, keep the microphone position and musical excerpt unchanged. Listen to a phrase that moves between the upper strings, rather than judging the E independently from the rest of the violin. A comfortable transition may matter more than an isolated tonal impression.
End fittings and fine-tuner compatibility
The manufacturer identifies the listed Superflexible references as Crimp ball end. Do not assume this means a removable ball. If your tuner is designed for a loop end, avoid trying to convert the termination by pulling or cutting it. Establish compatibility between the particular string and tuner before ordering. Damage to the end can make a new string unusable before its first rehearsal.
Inspect the ball seating, bridge groove and nut. The winding should follow the normal string path without being pinched by sharp edges. A more expensive replacement set will not repair a defective tuner or damaged groove. If previous strings repeatedly failed at the same location, keep one as evidence and ask a violin maker to inspect that contact point before installing another replacement.
Understanding the 4/4 specification
The catalogue gives a reference vibrating length of 32.5 cm for the configuration discussed here. This is a specification reference, not an instruction to move your bridge until the measurement matches. Bridge position and instrument geometry belong to the violin’s setup. Do not alter them to accommodate a set chosen without checking its intended size.
A full-size set should not be selected for a smaller violin simply because surplus length can be trimmed. The position of the playing section and winding relative to the contact points matters, as does tension at the intended tuning. Look for a manufacturer-specified version for another size. The violin chart also provides no basis for fitting these references to a viola, cello or another instrument with similarly named notes.
Superflexible is not Spirocore
The Superflexible sets here are 15 and 15A. The corresponding-looking violin references in the Spirocore range are S15 and S15A. The initial S matters. The manufacturer also distinguishes Rope core in the Superflexible chart from Spiral core in the Spirocore chart. Similar reference patterns do not establish identical construction or authorize an unrequested substitution between the two families.
A clear photograph of the packaging and complete reference is the most useful starting point for a repeat order. If your setup combines individual strings, record each one separately. Silk colours may provide an additional clue, but a partial photograph is not always enough to identify the exact version. Browse other families in the violin strings category and compare complete references.
Evaluating a change from your familiar setup
Allow time to adjust your bowing after moving from a synthetic-core or another familiar set. If the purpose is to evaluate the strings, avoid changing rosin, bow hair, microphone placement and recording settings at the same time. Try open notes, slow crossings, scales and familiar repertoire. Record which actions become easier or more demanding instead of reducing the comparison to a single general impression.
For ensemble playing, ask another musician to listen from a realistic distance. Sound directly under the player’s ear can differ from the audience perspective. In a recording context, include quiet entries and position changes in the test. With a pickup-equipped violin, check the balance between strings at unchanged gain settings. A core designation alone does not guarantee compatibility with every amplification system or a particular output level.
Installation, care and useful records
During replacement, watch the bridge position and the string’s route through its normal contact points. If you are unfamiliar with installation, ask a teacher or violin maker for help. Do not compensate for a sticking peg with sudden force. After tuning, check that the end is seated correctly, the winding remains intact and the fine tuner has a usable adjustment range without fouling adjacent parts.
Remove rosin residue after playing with a soft, dry cloth, following the care advice appropriate to your instrument. Avoid scraping the winding with sharp objects or experimenting with solvents near varnish. Unravelling, sharp damaged areas or noticeably worsening tuning stability warrant inspection. There is no single replacement interval for everyone because practice intensity, perspiration and contact-point condition vary.
Record the installation date, 4/4 size, tension, set number and any individual substitutions. For an important performance, a spare E matching your established configuration can simplify an emergency replacement. If the reference or fitting is uncertain, send a packaging photograph through SoundsGood’s contact page. This makes the discussion specific to the string and hardware you actually use.
