You are correct; I got things mixed up in my head. Well stated.
Enjoy the benefits of a premium membership!
Upgrade Account
-
Welcome to TalkBass! Want to remove ads? Register an account and login to see fewer ads, and become a Supporting Member to remove almost all ads.
I don't play 5 string, but I have played a bunch of different gauge strings at a bunch of different tunings and the answer isn't a good one. It depends on the player and how they want the string to respond, the instrument and how it responds to the player, and then the gauge of string can be chosen in response to those parameters. Unfortunately, not all things can be had when looking for this sort of thing. Like, if you have a heavy hand, and want to use super light strings with incredible low action and have no fret noise on a short scale, I got really bad news. But if you have meat hooks that can crush bowling balls and want to use telephone cable .240s with a half inch of action at the 12th fret on your 38 inch multi scale dingbat bass, the world is your oyster, just don't hurt me.
Triple pepperoni add olives and mushrooms and red onion
Tillamook Mint Chip
Depends on the car, but Ferrari Red in the sun is amazing.
I use the string that is most balanced with the other 4 on a tension chart. I use the D'Addario .47 - .107 4 string set and add their .145 for a 5 string.
Is it the best? Probably not.
Is it the best? Probably not.
Normally fatter strings produce more harmonics, resulting in a brighter tone.
Observations:
1) Short scale does not automatically mean use heavier strings to keep tension and feel. They will thump from less flexibility. Italian harpsichord makers figured this out in the 1600's.
2) Short scale does not mean automatically use lighter strings for tonal balance. You lose tuning and intonation stability.
3) It's all string manufacturers can do to split the difference between enough tension to be stable but not go thumpy. It is a conundrum; it is an enigma; physics is a PITA.
4) Personally, my 5-string bass is my #1 gig bass for my party band. It has a custom 33-inch scale neck for my hands. I use a D'A XL130 to go with a XL170BT 45-107 set, for consistent feel and tone. I tune my B string up to C so I don't cause mud with the keyboard player. If I used a 135 or larger and kept it at B for consistent tension and feel, it would thump, even with the clarity of EMG active pickups.
5) I have resigned myself to purchasing extra single strings, both B & E, so that when one goes dead I don't have to change the entire set, especially on a two-fer gig weekend both Friday & Saturday nights. I change the B and E strings for the second night. It is the way of life for players of basses with a scale length less than "Fender Standard" 34-inch. Fortunately, my gig income makes it worth my while.
1) Short scale does not automatically mean use heavier strings to keep tension and feel. They will thump from less flexibility. Italian harpsichord makers figured this out in the 1600's.
2) Short scale does not mean automatically use lighter strings for tonal balance. You lose tuning and intonation stability.
3) It's all string manufacturers can do to split the difference between enough tension to be stable but not go thumpy. It is a conundrum; it is an enigma; physics is a PITA.
4) Personally, my 5-string bass is my #1 gig bass for my party band. It has a custom 33-inch scale neck for my hands. I use a D'A XL130 to go with a XL170BT 45-107 set, for consistent feel and tone. I tune my B string up to C so I don't cause mud with the keyboard player. If I used a 135 or larger and kept it at B for consistent tension and feel, it would thump, even with the clarity of EMG active pickups.
5) I have resigned myself to purchasing extra single strings, both B & E, so that when one goes dead I don't have to change the entire set, especially on a two-fer gig weekend both Friday & Saturday nights. I change the B and E strings for the second night. It is the way of life for players of basses with a scale length less than "Fender Standard" 34-inch. Fortunately, my gig income makes it worth my while.
No. The extra mass causes the strings to vibrate less in their overtones from the inertia and lesser flexibility of a string with more mass. Don't confuse new string zing with what is actually happening with strings over time.
I've been using SuperBrights (6 string set, ditch the C) for the past 10 years as the manufacturer gave me a couple cartons, so the answer is .130.
I give more consideration towards string construction than gauge. Case in point: the DR Lo Riders are notoriously stiff in like-gauges (45-125 or 130). Many users down-size to the lighter 40-120 to preserve the element of normalcy under the fingertips.
Riis
I give more consideration towards string construction than gauge. Case in point: the DR Lo Riders are notoriously stiff in like-gauges (45-125 or 130). Many users down-size to the lighter 40-120 to preserve the element of normalcy under the fingertips.
Riis
I have used everything from a .120 (stainless, non-tapered) to .136 tapered on 34s and 35s. My technique has changed over the years and I now tend to prefer lighter, more flexible strings (fingers and pick) as opposed to the .130+ hex-cores I used to use. Tapered stainless worked fine, but I have had tapered flats where the B sounds like hitting a plastic garbage can with a haddock. YMMV. As others have rightly said, there is no absolute. It's what works best for you, your set up and your style.
It's the extra energy, caused by extra mass and tension, that allows for more overtones, as the amplitude of the fundamental tone stays the same. Just record single notes, played on differently gauged strings from the same type and brand and compare the shapes of the waves. I did...
I shall not argue physics with you. I stand by my post. Research what Freddie Taveres, one of the original Fender employees, said about this issue. Only with the longer scale will a string with more mass vibrate more freely in its overtones, a similar reason as to why bass strings on a piano with the added mass are longer than treble strings. I suggest you take a course in physics.
In my experience, each bass is different with how it interacts with the B string. I used to be a diehard .130 and .135 fan, but I decided on a whim to try some DR Pure Blues with a .125 B string, and absolutely loved it. I've found that the lighter guage actually gets you a better response, which might be due to the string being able to vibrate more freely. However, when I've tried .125s on my other 5 strings, it varies. My results:
Fodera Emperor 5 Standard Classic (34" scale): DR Pure Blues .125
Lakland 55-94 (35" scale): EBMM Slinkys, .130
Skjold 6-string Zia (34" scale): EBMM Slinkys, .130
Skjold 5-string Zia (33" scale): EBMM Slinkys, .130
Fodera Emperor 5 Standard Classic (34" scale): DR Pure Blues .125
Lakland 55-94 (35" scale): EBMM Slinkys, .130
Skjold 6-string Zia (34" scale): EBMM Slinkys, .130
Skjold 5-string Zia (33" scale): EBMM Slinkys, .130
Being on vacation, I don't have the results at hand, but I did compare different gauges with results contradicting Freddie's theory. I'm not in for an argument, so let's leave it for now. By the way, I'm a physician, so no course required.
I suggest you dialog with @Jon Moody, R&D for GHS strings as well. As I posted earlier, that may be the case of new string zing, not a wave form for settled strings.
