Quote:
Originally Posted by rsautrey  BTW, not that my opinion matters but that's what we are here for. I disagree with taperwound/exposed core strings being able to intonate "better" due to their design. I've always found the opposite to be true, usually due to the change in mass per unit length of the string. The idea sounds good on paper and as far as pianos are concerned but keep in mind that pianos use just the open note which usually sounds great on these sets. To me, the further up the neck I go from about the 7th fret on gives me a bunch of unusual harmonics and warbling. Also, the larger strings seem to sound worse (B and E) because the transition from the taper to the fully wound part is quite dramatic. Seems like it is scientifically impossible for good intonation just based on this alone. With conventional strings, I've never had any problems getting great intonation, especially when establishing a good witness point at the bridge. Lowering pickups doesn't help the taperwound/exposed core strings in regards to the warbling either. Anytime I change string brands or types, I always do a complete setup including pickup height. The ideal taperwound/exposed core string would be one that starts immediately after contact with the bridge. Most of the sets on the market can't possibly achieve this on most basses. Rotosound makes a set called RS99 Piano String Design that has an adjustable ball end that allows the ability to do this. I found these to intonate better than any of the following on Fender Basses:
Dean Markley SR2000
Labella Super Steps
GHS Contact Core Super Steels
DR Long Necks
But...the Rotosound set only comes in one gauge and the adjustable ball end takes a little bit of time to correctly install. There are those that swear by taperwound/exposed core strings. The great Will Lee helped design the Dean Markley SR2000 sets and he uses Fender Style basses. I find it hard to believe that he would use a string that is inherently flawed in it's design. But again, to my ears, they can't intonate properly. There is a good discussion about this on www.extendedrangebassist.com under the strings section in the forum. There are some sound clips that were posted that sound exactly like what happened in my experience. It would be nice to hear some opinions or facts from some engineer types or the actual string makers themselves about this. |
Great post. I agree with you 100%.
I'm an engineer, and while I can't prove through physics why taper strings warble, I can say that after some experimentation with taper strings I have found everything you said to be true. The thicker the strings are, the more pronounced the warbling effect is. Also, the further the taper is from the contact point on the bridge, the more pronounced the warbling effect is.
I have had good results with taper strings on my old Smith bass. I founf that Smith taper strings and DM SR2000s worked very well and the warbling was only noticeable on the very highest few frets of the E and B strings. Since I never palyed these notes it didn't matter much to me.
If you want to hear a horrible warbling affect, use a set of DR Longnecks string through the bridge insted of the body. This puts the taper over an inch from the bridge. They sounded just horrible on a Smith and Fender. That said, they weren't designed to be strung through the bridge.
Since my experiment I have never gone back to taper strings. The only advantage I found was a slightly different feel on the E and B strings. IMO, the cons out weigh the pros.
help me find a thread please! 
