Hey wanting to move some strings around on my sr505

[Anokbassplayer]

I dont play any style of music needing that low B string so i was wondering how i would go about setting my bass up for more tension I am planning on haveing an E A D G and C string.

[ggunn]

Originally Posted by Anokbassplayer

I dont play any style of music needing that low B string so i was wondering how i would go about setting my bass up for more tension I am planning on haveing an E A D G and C string.

You may have to replace the nut to accommodate the thinner strings. String it up, adjust the truss rod (if it needs it), set the intonation (it will be necessary) and you'll be set to go.

[ixlramp]

I'm certain you won't need a new nut for thinner strings. I've been stringing up basses with thinner strings for 15 years with no problems. I've used .007s in .032 slots and .045s in .135 slots etc. etc.

The strings go down at an angle over the nut, this, combined with the downforce generated and the curve of the slot floor all keep the string centered in the slot.

All you need is an EADG set and a single C with gauge:
.025 light
.027 / .028 medium
.030 / .032 heavy

If the new strings are tighter or looser you may need to tweak the truss rod first for the correct neck curvature. Then reset the saddle heights, then move the saddles for string intonation. Leave the bass upright on a stand overnight to let the neck settle

[Anokbassplayer]

Hey thanks for the help guys I thought i could do this myself I don't wanna pay $40 for a custom setup

[Anokbassplayer]

Just to clarify when adjusting the trussrod if the strings are loose i turn it _________ and when they are too tight it turn it __________ thanks for the help :P

[ixlramp]

Once the new strings are on, check the neck curvature. The next day, after leaving the bass vertical on a stand overnight, check the curvature again and then check the saddle heights and then the intonation, since the neck may settle into a new shape overnight.

To check the neck curvature, use a string as a straight-edge like this:
Gently fret the string at fret 1 and the highest fret. Halfway between these two frets look at the gap between string and midpoint fret, there should be a small gap, roughly credit card thickness. To see how big the gap is it helps to gently tap the string against the midpoint fret. This gap is called the 'neck relief'.

Think of the strings as pulling FORWARD on the end of the neck, this force is counteracted by the force of the truss rod that pulls BACKWARDS on the end of the neck.

If the gap is too big, the neck has too much forward curvature, tighten the truss rod clockwise to flatten the neck.

If the gap is too small or non-existent, the neck is too flat or even curved backwards (back-bow), loosen the truss rod anti-clockwise.

Only turn the truss rod by a maximum of 1/4 or 1/6 of a turn per day, leaving the bass vertical on a stand overnight to let the neck settle. Then check the curvature the following day.

[ixlramp]

Another handy tip ...

Since the lowest saddle is going from a B to an E, while changing that string slide the saddle forward to line up with the next saddle up, which is already intonated for an E. This will roughly set the intonation. Then do the same for the other saddles.

So when changing the strings work from lowest to highest, sliding the saddles as you change the strings. You'll still need to fine-tune the intonation afterwards but you'll be much closer to start with

[Anokbassplayer]

Ok thanks man I really apreciate it cant wait to start slapping with that c!!!!!!!!!

[Anokbassplayer]

Another question, sorry I'm new to this kind of stuff.... how do i set the intonation?

[ixlramp]

Hey no problem

The traditional method you will see around the internet is to tune the 12th fret note to the 2nd harmonic of the open note. This is a method without using a tuner, however the open note and it's 2nd harmonic are often slightly out of tune with fret 1, also it's more precise to actually use a tuner.

So this is my method. When checking the tuning of a string you'll notice the pitch goes sharp on the attack and then settles back down over a couple of seconds, it's the settled pitch you should take notice of. EDIT: See post below.

Tune fret 1. Then observe the tuning of every other fret (or every 3rd or 4th fret) up to the highest fret ...

As you proceed up the frets, if the tuning gradually becomes sharper, move the saddle away from the neck. If it gradually becomes flatter, move the saddle toward the neck. When moving the saddle, detune the string until it is almost completely loose, to let the saddle move freely. Moving the saddle by a millimetre is a fairly large adjustment.

With fret 1 tuned, you may find the open note is slightly out of tune, especially on the thicker strings. It helps to push down on the string either side of the nut to form a kink in the string as it passes over the nut, instead of a curve. If this doesn't solve the problem then IMO it's more important to get the frets in tune than the open note.

[knuckle_head]

Mat

I am with you - nearly wholely. But . . .

Resolve is not what we hear when we hear bass parts and sells short the setup process. That isn't to say that you should hammer your strings in this process and pay attention to attack strictly.

Better, in my opinion, is to use a gentler strike to the string on setup and err more toward the attack side than resolve. There will be less shift in pitch with a gentler stroke to the string, and you can intonate to where the bass will be heard in performance.

I never do a setup without a tuner, and certainly check intervals beyond the second harmonic. If for no other reason than to assure myself that the frets are actually where they are supposed to be - but then I put the frets where they are on most of the setups I do so you may want to refer to this as paranoia on my part . . .

[ixlramp]

Originally Posted by knuckle_head

Better, in my opinion, is to use a gentler strike to the string on setup and err more toward the attack side than resolve. There will be less shift in pitch with a gentler stroke to the string, and you can intonate to where the bass will be heard in performance.

Sounds like a good idea, makes the process faster too

My thinking was that the pitch on resolve is more consistent, the pitch on attack being variable depending on subtle changes in technique. So intonate on resolve, and then afterwards you can always tune on attack if you wish. I can see your method is a good comromise.

I really am no expert so I very much appreciate your input