I have mostly been using round's. Have flats on my Hofner and another bass but my strings of choice have been GHS Super Steels for years. .40 .58. 80 and 1.02 or a standard set .40 .60. 80 1.00 Those are the medium lights.Hi Leland
A real dull question here but what type of strings do you use. I understand you favour roundwounds but are they nickel or steel? Do you favour a particular string brand or gauge?
Not the most exciting question I'm afraid!
Thanks
There are NO questions too mundane. That is why we are here.Thanks Leland
Sorry it wasn't the most interesting of questions but I appreciate you taking the time to answer.
All the best.
D
There are NO questions too mundane. That is why we are here.
Went to GHS in the early 70's. Toto Sound are great, but in those days they were inconsistent and there would be some dead strings in a new set. Was costing too much money to get a good set out of a few. GHS have always been perfect when unwrapped.Lee - do you recall when you switched from Rotosound to GHS strings? Wondering if any recordings mark the change, or if there was much of a difference in your tone or approach. Did you always use .40 for the G?
Went to GHS in the early 70's. Toto Sound are great, but in those days they were inconsistent and there would be some dead strings in a new set. Was costing too much money to get a good set out of a few. GHS have always been perfect when unwrapped.
Yes it has........I know you used Rotosound on your 62 Jazz in the early 70's, but has your Frankenbass worn the GHS Super Steels from day one?
My pleasure....Wow, that's a heck of an endorsement! So many recordings with those strings.
I used Rotosounds for years, then went to GHS Boomers for a while and back to steel strings with D'Addario and Sadowsky. I had never used Super Steels before building my Frankenstein bass a few years ago but now they're all I use. They last a long time, feel great, and sound great.
Thanks Lee!
Strings are so subjective. Everyone has their own preference. I used Roto Sounds a lot in the 70's but found they were inconsistent and sometimes need a couple of sets to get one good one. Pyramid Golds were great too but when I found GHS I found them to be long lasting, consistent and the sound I liked.Lee - Listening to your live recordings with Phil Collins has made me order another set of Super Steels after nearly 20 years.
I know most of the tone is from your amazing technique but still...
Strings are so subjective. Everyone has their own preference. I used Roto Sounds a lot in the 70's but found they were inconsistent and sometimes need a couple of sets to get one good one. Pyramid Golds were great too but when I found GHS I found them to be long lasting, consistent and the sound I liked.
90% of the time I use a bass with the same strings. I have a Hofner with flats on it if I need that sound but more often I would use my round wounds bass and use a little foam in the bridge and that can create a flat sound very easily. I usually adjust tone with my fingers and not the bass in every situation. Play near the neck, mid way or bridge. They all offer a huge variety of tonal options. Use whatever feels right to YOU.Hey Mr. Sklar, speaking of string types being subjective would you view a person using the same kind of strings regardless of what the recording situation was as them being stubborn, or a case of you've gotta be a little more inventive in the way you play to make it fit the piece. Weird question but why I ask is just because I really prefer flats to rounds (I've not been playing long so tastes may change, I'm also not gonna get into the whole question of brands for fear of getting sidetracked) but I know that a lot of people say they're not really appropriate for all kinds of music. This leads me then to the question of can you or should you use your preferred kind for whatever the project may be, if it be just playing in a band with mates or in a session environment.
Just as a side-note, it's really bloody cool that we get to ask ya this kinda stuff in the first place! Again, not been playing that long so getting to ask you this stuff is tops.
Yes, strings are such a subjective thing - one man's bridge cable is another's best string he has ever played.Strings are so subjective. Everyone has their own preference. I used Roto Sounds a lot in the 70's but found they were inconsistent and sometimes need a couple of sets to get one good one. Pyramid Golds were great too but when I found GHS I found them to be long lasting, consistent and the sound I liked.
90% of the time I use a bass with the same strings. I have a Hofner with flats on it if I need that sound but more often I would use my round wounds bass and use a little foam in the bridge and that can create a flat sound very easily. I usually adjust tone with my fingers and not the bass in every situation. Play near the neck, mid way or bridge. They all offer a huge variety of tonal options. Use whatever feels right to YOU.
What I do is take a variety of different foams from kitchen sponge to packing foam...Just different densities. Then I cut them in to squares. I make different sizes which would make for different muting. Now the thing is I use a square BETWEEN the G and D string and then a square between the A and E string. The tighter the fit the more muting happens. A slightly loose fit and the tone is in tact with just a bit of deadening which gets you closer to a flat wound. If it is a 5 string then a small piece under that string. This seems to work for me. I carry about 4 to 5 different densities with me.Thanks for the speedy reply! Sound advice, I've tried the foam approach with the rounds but I've not found the right material yet, everything I've tried so far just flattens the tone completely. I was taught to play over the bridge the majority of the time but with the combo of really bright strings and the treble already coming from the bass (it's a jazz) I find it too much, it could be sorted with EQ but it goes beyond that for me. Sure, I wanna be heard but I'm totally cool with layin' down stuff in the the back and flats pull off that really warm but thumpy sound which I think supports everything else pretty nicely. Personal preference though is always gonna be most important as you said yourself so once again many thanks Mr. Sklar, getting advice on this stuff from a true maestro is awesome!
What I do is take a variety of different foams from kitchen sponge to packing foam...Just different densities. Then I cut them in to squares. I make different sizes which would make for different muting. Now the thing is I use a square BETWEEN the G and D string and then a square between the A and E string. The tighter the fit the more muting happens. A slightly loose fit and the tone is in tact with just a bit of deadening which gets you closer to a flat wound. If it is a 5 string then a small piece under that string. This seems to work for me. I carry about 4 to 5 different densities with me.
The common method of foam muting is to use one piece of foam to go under all four (or five) strings across. But I've always found it rather awkward having to stick a long piece of foam UNDER across all four strings for the one song I need it for and having to remove it again for the next song.
Lee, I think your method is so brilliant that I should give it a try. Such a simple idea that could make a huge difference!