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As if I weren’t already blowing enough money on arcane strings, I’ve got a new obsession: Thomastik-Infeld Plectrum series acoustic strings (which sell for $24 in the U.S.).

If you hang out here much, you’ve heard me bitch incessantly about acoustic strings. I hate the way most modern strings are all hyped treble zing and blaring volume, at the expense of deep, decisive fundamentals. With due respect to my vegetarian friends, too many strings are all sizzle and no steak.

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Yeah, bright strings can seem energizing in a cocaine-binge sort of way. But all that glassy presence gets fatiguing. Meanwhile, darker bass strings leave sonic space for the treble strings to shine. Even on my teensy-tiny Martin 0-17, these low strings sing in a warm baritone voice, not like some squeaky, poorly Auto-Tuned teen idol.

This pricy Austrian set features brass-coated steel 1st and 2nd strings, while the bass strings are bronze, but with both silk inlays and flexible steel cores. The flatwound 3rd, 4th, and 5th strings nix finger noise and minimize tone contrasts between wound and unwound strings. The polished roundwound 6th string adds a touch of focus to the lowest register, yet introduces no awkward contrasts on melodies played across multiple strings.

The set is low in both tension and volume relative to most U.S.-made strings. Even though the low E is a chunky .059, it has a soft, relaxed feel that makes me want to linger over notes, shaping them. The harmonic range is fantastic, the dynamic range even more so. They’re long-lasting too — this video was recorded three weeks and many playing hours after installing the set.

I’m hooked. Damn it.

(Hey, Mr. Tambourine Man — I don’t want you getting your nasty treble overtones all over my acoustic strings, no matter how frickin’ jingle-jangle the morning happens to be. Just back off, pendejo.)

No longer ridiculously expensive — just REGULAR expensive. — No longer ridiculously expensive. Now they’re just very expensive.

I spent last week covering the Musikmesse musical instrument trade show in Frankfurt, Germany, for Premier Guitar. I had a blast, and Chris Kies and I posted details and pics of more than 70 new products. (Here’s the short list of our personal faves.) Kies shot lots of video, and will be posting more than 50 demo segments to the PG site in the coming weeks.

But Messe is hellishly loud, far noisier than NAMM. When I finally got home and picked up a guitar, it was an acoustic. I was trying something new, based on info I obtained from Mary Faith Rhoads-Lewis, CEO of Breezy Ridge, a company that distributes several brands for acoustic musicians, including John Pearse strings.

I’d previously geeked out here about about the strangest and most expensive guitar strings I’d ever tried: this “rope core” set from Austria’s Thomastik-Infeld. Reader/cool guy Al Milburn turned me on to them, and I wrote about them here. And I recently posted this video demonstrating how the transformed my old Martin 0-17 into a compelling steel/nylon hybrid with a unique and expressive voice.

Anyway, Ms. Rhoads-Lewis told me that the late John Pearse originally created this set for Thomastik, and that the John Pearse Folk Fingerpicking set [PJ116] is identical to what the Austrian company sells. Best part: You can get them in the States for under $20, as opposed to a walloping $35 for the Thomastiks. She also told me that their magic works in reverse: You can put this relatively low-tension set on a classical guitar for a very different sort of hybrid steel-string sound. (This, she said, is exactly what the great Brazilian player Bola Sete used to do.)

I popped a set on my old Yairi classical. The feel was — totally strange, and in precisely the opposite way as on the Martin. The tone was edgy and exciting, but the tension seemed a little too extreme. If just seemed a little too … high-strung, in every sense. Then I tried lowering the entire tuning a whole step, with the sixth dropped all the way to C.

And … oh, my. Check it out:

Summary: Holy cannoli, I love how this sounds. And there’s something psychologically satisfying about the transformation too. See, this guitar has always been a bit … tragic to me. I got it when I was 16. My classical guitar prof at UCLA said I needed a better instrument, and my every-supportive folks, bless ’em, helped me buy this Alvarez Yairi for around $700 (in 1970s dollars). It was a top-tier model for Alvarez, signed by luthier Kazuo Yairi, and boasting lovely Brazilian rosewood backs and sides. It was a huge upgrade for me, but as I got deeper into classical playing, its shortcomings emerged. Had I not shifted my studies to composition, I’d have needed to upgrade again. I envied the Igancio Fleta y Hijos models my two teachers played, but at around $3,000, they were beyond my budget, even with parental help. (Pity — their current value is approaching $50,000.) So I’ve used this instrument as a limited but decent-sounding model suitable for pop work, if not serious classical concertizing.