We sell two types of titanium core strings: phosphor bronze wound, and pure nickel wound. The reasons for having two types of strings are straightforward. First, to the well trained ear, there is a slight difference in the sound characteristics between the two types. Neither can be classified as "better or worse", just "different". Secondly, have no doubt, these strings are expensive (and for good reason as we'll explain). The material cost of the phosphor bronze set is lower, so we pass that savings on to you. However, although our phosphor bronze set greatly surpasses the performance characteristics of steel core strings, it is merely a corrosion-resistant set, and is not corrosion-proof. On the other hand, our nickel wound titanium set is the world's first corrosion-proof set of metallic strings for acoustic guitar.

So why are these strings more expensive? The reasons include the titanium core (which cost about 40 times more than steel), and the special process required to manufacture them.

Why are these strings worth the price? Because even the corrosion-resistant phosphor bronze set will last significantly longer than conventional steel core strings! Your investment will more than pay for itself in terms of fewer string changes, fewer string purchases, and savings of valuable time.

What does "last longer" mean? To answer this question, I'll first attempt to describe what all guitarists have qualitatively experienced with conventional strings. Namely, conventional strings are characterized by four "periods" of acoustic performance, including the "break-in period", the "bright period", the "mellow plateau", and "death". It is important to realize that all strings go through these periods. The differentiation between products arises as a result of the different time constants that characterize the duration of each period. Some of the worst strings go through all four periods in one day or less. I've had one luthier tell me a story about a supposedly great product that became "as dead as a doorknob" the day after installation. In other cases, the time constants are longer, and there are some conventional strings that can sound good after several weeks of play. However, no matter how good they seem, their "death" will inevitably come. The propensity for "death" is programmed into conventional strings. Like a time bomb, the huge galvanic mismatch with conventional string materials ultimately leads to corrosion and string death (the universe likes to see entropy increase).

In brief, here's what makes Rohrbacher^TM strings different. Our time constants for decay in every period are significantly longer than the analogous time constants for conventional strings. In fact, the time constant to go from the "mellow plateau" to "death" has not yet been measured, because "death" has not yet occurred! We have good reason to believe that they may never die (unless you break them).

With conventional strings, the time constants for decay are very dependent upon the frequency of play, and the chemical make-up of the musician's perspiration by-products. However, independent of these differences, each period is characterized by unique tonal characteristics. The "break-in" period is characterized by extreme brightness. Some musicians really like this period (i.e. it can be conducive to certain styles of play, like bluegrass). Others characterize it as harsh (i.e. these musicians prefer softer, mellow tones). Others may like the tone of this period, but they perceive it as extremely unstable (indeed it is for conventional strings). For example, the short time constant in this period makes it difficult to produce a recording with uniform tonal characteristics, particularly if the musician has to perform multiple takes "to get it right" in the studio (Dr. Buzz is one of those musicians).

The second period, or the "bright" period, is characterized by a more uniform balance of sounds from each of the strings. The strings are still "bright" in the sense that the harmonics are still present, and they continue to accent the fundamental tones. This period appeals to a broader spectrum of musicians. During this period, corrosion and mechanical wear continue, and the string slowly decays to the "mellow plateau." Again the time constant for this decay is extremely variable, and can range from less than a day to several weeks depending on the product, and on the musician.

During the "bright period", corrosion and mechanical wear by-products, coupled with contamination from organic matter, all work together to dampen the higher harmonics. This leads to the "mellow plateau", which appeals to as many musicians as those who like the "bright period". In fact, many musicians like both periods, depending upon the mood at any given moment. The duration of the mellow plateau is dependent on the same variables described earlier, but with one additional nuance. Once the mellow plateau is reached, the chemistry which leads to "death" is accelerated. At this point, all of the salts are where "mother entropy" needs them to be - between the windings and the core.

Remember, water is needed to finish the job (see the chemistry section). The water can come from humidity in the atmosphere, or it can come from residual moisture after a playing session. Most importantly, once the salts are there, and if the guitar is left untouched for long periods (i.e. in a case, or hanging on display in a retail outlet at 50% relative humidity), the galvanic damage can be faster and more severe. During play, abrasive action from the fingers can actually help to rub away particulates and corrosion "by-products". When the instrument is left idle, the by-products are free to increase in concentration. This is why you can sometimes pick up a guitar in a shop, blow off the dust, and notice that the strings are "blotchy" in color, and also find that the tone is poor. If you own several guitars, you may have also noticed that if you've left one of them idle for several months in the case (maybe after only a few periods of extreme play), the strings are "dead" after you re-open the case.

In conclusion, although the time constants for each period are extremely variable, it is important to note that the time constants for Rohrbacher^TM strings are all significantly longer than the decay time constants for conventional strings. This is best understood when one considers the effects of galvanic corrosion, and the importance of electrochemically matching the winding and core materials (see the chemistry section).

During my own testing, I've sustained "bright periods" for more than four weeks. Again, none of the Rohrbacher^TM strings have reached "death". I now suspect that you'll have to break them, or pre-maturely cut off the sheathed ends to kill our strings.

Yours,