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baka kaba posted:What's the deal with the different string gauges? Extra-light on a guitar I can understand since they're easier to bend and not as harsh on your fingertips, but is there reason to have a light gauge on a bass? Is it just down to how much pressure you need to use, and the tension your instrument's set up for? I'm assuming you get a better tone from the heavier sets. I wouldn't say higher string gauges necessarily sound better. It's mainly a matter of taste; I prefer the snappier sound of thinner, lower tension strings. The playability thing isn't that big of a deal either. You don't need much force on heavy gauge strings as long as you fret accurately. On my favorite axe, I have combined sets. It's tuned EADGC with the following gauges: 95, 85, 52, 32 and 20. On a 34'' scale I would go a bit heavier, I think. This one's a 35''.
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May 28, 2011 21:06
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I have a few ancient (1970s) NOS Fender sets without any indication of string gauge. An eyeball comparison with the 115-65 sets I use on other basses would have these sets starting at around 130; they look strong enough to suspend a smallish bridge from. One set is on a fretless Precision; if I turn the amp up (through a big stack of 15" cabs) with the low E on that thing in full swing, everything in the venue starts shaking and rattling like an earthquake scene in the movies, no kidding. Even when I record, I have to cut about 6dB in the 80-100Hz range. I'd post an uncensored example, but it would break your puny computer speakers.
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May 28, 2011 21:36
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baka kaba posted:What's the deal with the different string gauges? Extra-light on a guitar I can understand since they're easier to bend and not as harsh on your fingertips, but is there reason to have a light gauge on a bass? Is it just down to how much pressure you need to use, and the tension your instrument's set up for? I'm assuming you get a better tone from the heavier sets. I've been moving towards lighter and lighter strings lately, partly to give my hands a break, and partly because I like the way they sound. I play almost exclusively with a pick, and I find that lighter strings provide a bit more fundamental and a bit less treble, which helps to even out the excess twang that comes with playing pickstyle. I use D'addario Chromes and Ernie Ball flats interchangeably, since I don't hear much of a difference between them (and in a mix, the difference is inaudible). Flats last for so long that I can easily mix and match as I pick up new sets. For standard E I like to use a 100-80-60-40 set, and for standard D on my 5 I've been digging my 110-90-65-45-32 set.
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May 29, 2011 00:02
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OK, I didn't realise metal was out because it was a shortscale - I'll bear that in mind and get it taken to a shop before I start doing any work on the bastard. I'm making my way through Hal Leonard's Bass Method Book 1 (again) and this time making a concerted effort to do the songs towards the end of the book - but they're bloody difficult: there's a Jazz-waltz piece in 3/4 timing using ties that's kicking my rear end all over the place. I've got Building Walking Basslines that I'm working on now, and Bass Fitness - is it a case of knuckling down on all three of these books, or should I start finding songs to jam along too? I know I should be building my own basslines instead of reading tabs, but i'm finding it hard to find the tonic of a song, let alone the kind of progression used - any help would be greatly appreciated.
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May 31, 2011 19:37
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Bass fitness is great. Just work slowly through it with a metronome. As for strings, I use 40-120 DR Hi-Beams on everything. The slightly lower tension really helps keep my wrist pain issues at bay.
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May 31, 2011 20:04
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Cool cool, thanks guys. I guess I should just measure what I've got and try something different - I'm looking forward to giving flats a go, I love the roundwound sound when they're new but they die off pretty quickly.Southern Heel posted:I know I should be building my own basslines instead of reading tabs, but i'm finding it hard to find the tonic of a song, let alone the kind of progression used - any help would be greatly appreciated. It might help to look at tabs with the chord progression laid out rather than the individual notes - that way you'll be forced to think about what you're playing, work out where the notes are on the fretboard, and you can also try and analyse the progression and work out what key it's in. This won't always work, but it's worth a try for your 'standard' chords in a key: http://randscullard.com/CircleOfFifths/UserGuide.htm But working from the actual chords means working out what notes are in each chord, which will give you some clues when you listen to the bassline itself - it'll also give you a chance to make your own basslines and try out some ideas, since you'll be following the chord progression. As far as the tonic goes, apart from working it out from the chords used you can usually tell just from what sounds 'right'. It's kind of the base of the song - or at least each part of it, since the key can sometimes change. Basically the music resolves to the tonic, you get a feeling of falling into place when the progression finally hits it, and that's why it often ends the song (and sometimes starts it too). You know how sometimes bands hold a chord at the end of a song, or maybe go silent... and then come back with one last, final-sounding chord (that cound sound a bit corny sometimes)? That's usually the tonic, like saying 'this song was brought to you BWAAAAAA by the key of D major'
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May 31, 2011 22:18
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Any recommendations for a good bass chorus? I'm looking for something more shimmery than watery, for some of our cleaner parts (I play metal). Planning to buy from http://www.macdaddymusicstore.com as my guitarists are both picking up 808s today, and I was going to throw in on shipping. So far liking the T-Rex, but they have a lot of cheap EHX stuff here. Experiences GO!
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Jun 2, 2011 05:12
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Ackbarf posted:Any recommendations for a good bass chorus? I'm looking for something more shimmery than watery, for some of our cleaner parts (I play metal). The Polychorus sounds right up there, if I think you're going for a more "metallic" sound akin to New Order or a lot of 80s clean guitar tracks. I have a boss Super Chorus that I'm not crazy about but it gets the job done for bass.
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Jun 2, 2011 05:18
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Even to this day it still astounds me what a difference fresh strings can make on the sound of a bass. Every couple of months I fall in love all over again.
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Jun 8, 2011 15:35
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I just got my first set of flats! I hope this is as fun as I think it'll be...
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Jun 8, 2011 16:42
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Scarf posted:Even to this day it still astounds me what a difference fresh strings can make on the sound of a bass. Every couple of months I fall in love all over again. Every couple years I change strings and have to kill the new strings so they sound good like they're supposed to. 
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Jun 8, 2011 17:50
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Brickhouse Betty posted:Every couple years I change strings and have to kill the new strings so they sound good like they're supposed to. jeez how often do you play? I usually change strings between 4-6 months but I'm only playing for 3-4 hours a week. Usually the dullness eats at my fingers and I like the growly new string tone
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Jun 8, 2011 18:40
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Brickhouse Betty posted:Every couple years I change strings and have to kill the new strings so they sound good like they're supposed to. On my Lakland 44-02 I use nickel plated rounds that require changing every few months. On my Lakland Hollowbody I have some La Bella flats that will never be changed.
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Jun 8, 2011 19:01
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Scarf posted:On my Lakland 44-02 I use nickel plated rounds that require changing every few months. Yeah I switched to La Bellas on both my main basses. I still have GHS Precision Flats on my Longhorn but only because I'm thinking about selling it. Right now I have 3 basses with 3 different scale lengths, which makes experimenting with strings a bitch. Luckily I love the La Bella light flats (tried the Jamerson set too but holy poo poo that was a lot of tension) so I can stop looking and keep them forever.
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Jun 8, 2011 23:21
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Holy wow these flats are kicking my rear end. It's like roundwounds are baby strings that gently caress your fingers as they slide and skip frictionlessly across them like ice dancers. I'm really liking the sound though, but hey new strings are always nice
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Jun 8, 2011 23:31
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baka kaba posted:Holy wow these flats are kicking my rear end. It's like roundwounds are baby strings that gently caress your fingers as they slide and skip frictionlessly across them like ice dancers. I'm really liking the sound though, but hey new strings are always nice
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Jun 9, 2011 02:28
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I'm exaggerating a bit but there's definitely more friction, I'm assuming because my finger's in contact with a bigger surface area. They're very grippy. I've heard that eases up as you wear them in though, but I definitely have the next level of calluses coming in. To be fair that's partly because my action's too high (the truss rod's broken apparently - thanks eBay) but they're catching my plucking fingers too. Quick skippy notes are being dragged back unexpectedly, so I just need to adapt I love the sound though, especially on the E and A strings oh my yes. I think the G string sounds better too, a lot stronger even though I'm pretty sure the rounds I had on were a slightly heavier gauge. Sounds like a tiger singing opera
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Jun 9, 2011 02:56
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Just go ahead and lube up those strings, killer. (Don't do this unless you have a double bass and even then still don't)
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Jun 9, 2011 03:08
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baka kaba posted:I'm exaggerating a bit but there's definitely more friction, I'm assuming because my finger's in contact with a bigger surface area. They're very grippy. I've heard that eases up as you wear them in though, but I definitely have the next level of calluses coming in. To be fair that's partly because my action's too high (the truss rod's broken apparently - thanks eBay) but they're catching my plucking fingers too. Quick skippy notes are being dragged back unexpectedly, so I just need to adapt. This isn't too surprising, the smoother a surface is the more friction it's going to produce. Think about running your finger along a smooth pane of glass as opposed to a lightly textured wall. Your fingers will grip a lot more on the glass. Also, certain flats, such as D'addario Chromes, seem to come from the factory with some sort of grippy residue left behind from the manufacturing process. This will wear away with time. Just for kicks, once you've gotten use to the flats try out some heavy gauge stainless rounds like the Roto66s. Then you can basically say goodbye to the skin on your fingertips. 
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Jun 9, 2011 03:45
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lazerwolf posted:jeez how often do you play? I play either 4 or 6 hours every weekend, and practice/noodle for maybe another hour or two during the week. But I also play upright, so no matter how grimy my electric's strings get, they still feel like petting a kitten vs. the upright turning my fingers into hamburger. And I use Elixir strings, which start out a bit deader than most and don't die as quickly. Except my P-bass, which has some half-rounds I put on it in 2001 and sounds better every day.
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Jun 9, 2011 04:07
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The flatwound B string I've been using for a few years is finally nearing the end of its lifespan, as it's becoming more and more difficult to intonate and keep in tune. It probably would have lasted longer, too, but it's taken a lot of abuse in marathon practices and on the road. I've tried the Chromes B string and the GHS Precision Flats, so what other options do I have? Labella is probably the next one I'll try.
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Jun 9, 2011 04:22
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Juaguocio posted:The flatwound B string I've been using for a few years is finally nearing the end of its lifespan, as it's becoming more and more difficult to intonate and keep in tune. It probably would have lasted longer, too, but it's taken a lot of abuse in marathon practices and on the road. I've tried the Chromes B string and the GHS Precision Flats, so what other options do I have? Labella is probably the next one I'll try. You can try the Thomastik Infeld flats. They're lower tension that most other manufacturers (which is one of the reasons I don't use them), but they're really popular. A 5-string set will run you about $90 though (the OTHER reason why I don't use them).
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Jun 9, 2011 14:08
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Bill Posters posted:This isn't too surprising, the smoother a surface is the more friction it's going to produce. Think about running your finger along a smooth pane of glass as opposed to a lightly textured wall. Your fingers will grip a lot more on the glass. Ahhh yeah, true. Forgot about that. The tips of my fingers are so numb from callousing over the years that I really don't notice anymore...
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Jun 9, 2011 14:11
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gotly posted:Just go ahead and lube up those strings, killer. The Ed Friedland 'slice of pizza' method sounds tastier, but I think Domino's is also subject to FAA regulations (or at least it should be) Bill Posters posted:Also, certain flats, such as D'addario Chromes, seem to come from the factory with some sort of grippy residue left behind from the manufacturing process. This will wear away with time. Yeah they are Chromes as well, it'll just take some getting used to! I'm enjoying the novelty because I've only ever used roundwounds on bass and guitar. I'm pretty sure it's making me play better too, improving my technique I had some stainless Swing Basses on there before, not sure what gauge though. I'd love to try some heavy ones but I think I'll need a new bass for that, what with my truss rod issues I didn't dare go higher than 45-100 for the flats 
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Jun 9, 2011 15:31
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I'm looking to maybe update my rig. This is what I'm rocking right now: Fender Marcus Miller into Tech21 Sansamp Para Driver DI into Genz Benz GBE600 into Eden D410T (4 ohm) I'm looking for some more mid punch without being too harsh. I love the bass itself but I wouldn't be against some new pickups/preamp or both. The head makes a funny elephant like squeal if I enable too much treble with the bass close to the cab. The cab seems to be working fine also but I was thinking maybe getting a 610 or another 4 ohm 210 or 118 to push the head to its capacity at 2 ohms I have a touch of GAS right now also which doesn't help ha
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Jun 9, 2011 18:49
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Scarf posted:You can try the Thomastik Infeld flats. They're lower tension that most other manufacturers (which is one of the reasons I don't use them), but they're really popular. A 5-string set will run you about $90 though (the OTHER reason why I don't use them). Wow, the Thomastik B string is a .136, which seems ludicrously thick to me. From my prior experience with flats it seems like the Thomastiks would be pretty unbalanced with the gauges they use. I think I'll stick to my plan of trying Labellas to see how I like them.
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Jun 10, 2011 02:00
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lazerwolf posted:The cab seems to be working fine also but I was thinking maybe getting a 610 or another 4 ohm 210 or 118 to push the head to its capacity at 2 ohms It's generally a bad idea to mix and match driver sizes (ignoring bi-amping for now). Different phase responses will mean you could sound drastically different in different parts of the room. Adding a 210 would be a better bet but an 8ohm would match better with your existing cabinet. At 4ohms it would be receiving half the amps power into only two speakers. At 8ohms the power should be more evenly distributed. The total impedance will also be about 2.3ohms. Not far off 2. The best match for an existing cab is always one more of the same though.
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Jun 10, 2011 02:34
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Sign me up for the flatwound club. Just put my first set of D'addario Chromes on my EB-0 and I'm loving it. The smooth texture under my fingers is awesome, and so is the tone. Best part is they'll only get better, and I got them for pretty cheap. Turns out a local store makes up with its high gear prices with deals on bass strings, which was a pleasant discovery.
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Jun 10, 2011 04:22
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Man I'm really in the minority here, I loathe the sound of flatwounds
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Jun 10, 2011 05:31
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Like anything it is how they're played. I can't remember why I stopped using flats. I think I might have had a gig where they said 'We need porno slap bass, emphasis on the porno' so I put on shiny new strings. Anyway, eventually I just got that "jazz" sound using my fingers and didn't need the strings I guess. edit: Thinking about it I might have been really into Steve Swallow at the time.
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Jun 10, 2011 11:58
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Juaguocio posted:Wow, the Thomastik B string is a .136, which seems ludicrously thick to me. From my prior experience with flats it seems like the Thomastiks would be pretty unbalanced with the gauges they use. I think I'll stick to my plan of trying Labellas to see how I like them. I don't ever plan to change the La Bellas on my hollowbody. I've run into a QC issue with them in the past, but their customer service was more than accommodating.
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Jun 10, 2011 13:50
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If a bass tab (yes, I know) uses higher frets without jumping around into higher octaves should I assume it was created by an imbecile? I.e.pre:------------------------------ ------------------------------ ------------------------------ -0-0-3-4-0-6-7-0-5-0-3-4-0-7-7 pre:------------------------------ ------------------------------ -----------1-2---0---------2-2 -0-0-3-4-0-----0---0-3-4-0----
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Jun 14, 2011 09:51
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A good bass player will learn several ways to play the same notes. It makes you better. If you always look for the "correct" way to play a lick and ignore different perspectives than you are limiting yourself. Also there's an advantage to knowing all the notes of a scale up a single string.
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Jun 14, 2011 15:31
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ey if you want to be a cool rear end bass player just play octaves. just throw in an octave any old time you like. 2 strings up and 2 frets down. just play em
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Jun 14, 2011 15:37
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Southern Heel posted:If a bass tab (yes, I know) uses higher frets without jumping around into higher octaves should I assume it was created by an imbecile? I.e. That said, especially with that many open strings in the mix, playing up the neck has a different sound and feel than playing across. Due to timbral differences in the strings, some players prefer to play up the neck whenever feasible, especially for prominent bass parts. Get comfortable with both ways so it's an aesthetic choice rather than a matter of comfort with technique.
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Jun 14, 2011 16:43
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I've been playing self taught bass on and off for about 8 years now and I think I've hit a bit of a plateau. I've read some theory and that sort of stuff online throughout the years but I've never really translated it into my playing. I usually go by feel rather than think about the theory. I play in a rock band with influences from Thin Lizzy, Hold Steady, the Boss, a little alternative country riffs too. I hold down most of the rhythm with the drummer and add some nice fills here and there but they are mostly trial and error until I find something I'd like. This is where I'm thinking the theory part would come more in handy. Any one have any advice on incorporating more theory into regular rock songs?
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Jun 14, 2011 18:43
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I don't know exactly what you mean by "incorporating more theory". Everything you're already playing is based on some kind of musical theory. Do you know what a scale is? Do you know what the different modes of a scale are? Do you know the different intervals of that scale and its modes? In other words, do you know what you are already playing? If your guitar player turned to you and said "What was that lick you just played?" could you describe it with words and not by playing it? I used to be a "self-taught" bass player. Then I went to an instructor and in a few months I had increased my knowledge and skills tenfold. There's nothing like having a professional look at what you're playing and say "Here, try this" or "Go home, practice this for 10 hours, and come back". You won't get that from youtube or books or even internet forums. For example, I had a jazz band director say this: "You've all heard of the minor blues scale, but how many of you know the major blues scale?" Then he showed it to us. Nothing complicated, just a different take on something we already knew. Turns out it really helped me in my improvisation. Just something about the way it lines up on the bass frets. I would never have learned that if I had been self-taught. Since you're a play-by-ear kind of person maybe you should just listen to different kinds of music and then learn how to play it all note by note. Then take something you heard and play it against one of your rock songs and see what happens.
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Jun 14, 2011 19:29
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I would describe it as fret numbers rather than note names. None of us really know theory that well, and I couldn't tell you the key we are in without some thought but I can identify the right notes more or less by playing if that makes sense
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Jun 14, 2011 21:46
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Southern Heel posted:...tab... Pretty much
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Jun 14, 2011 21:58
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lazerwolf posted:I'm looking to maybe update my rig. This is what I'm rocking right now: This may sound silly, but have you tried a VT-Bass in place of the Para DI? They have a lot of warm mid tone available, and can really round out the sound of your rig. I love the poo poo out of mine and I know I'm not alone in this thread... Just a thought.
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Jun 16, 2011 04:49
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