Tonal reasons for playing on particular strings

[us_soccer]

I know there's already a discussion on playing up and down one string vs. across, but I wanted to know people's thoughts about this choosing what strings (and hence parts of the neck) to play certain notes.

To give a concrete example of what I mean:
Playing in first position on your G string has quite a different sound to playing in higher positions on the D string and playing the same pitch. I quite like the sound of playing on the D string in the upper registers (though not necessarily too high). There's a sweet spot where the sound of notes on the D string just sound so nice and have a very different quality than playing those same pitches on the G string.

Likewise, I don't often play too high on the neck on the A and E strings. When you go too high, I can't get my sound to project as well.

I'm still new to DB (about 1.5 years), but I'm exploring these issues and would like any advice or feedback in terms of choosing what strings to play certain pitches.

Hope my general issue/question is clear enough.

[Marc Piane]

If I'm playing a line I play it in the most logical spot. If it is a sutained note I usually err for the location that will give me the longest vibrating string length.

Of course this is a sweeping generalization and it is case specific.

[brake]

I think it depends on where you came from and where you've got to be next.

[Paul Warburton]

If you're talking about pizz, and I am assuming you are by looking into your profile, it depends what you're goin' for which has already been hinted at. For a legato or a longer sustain, particularly in jazz solo work, alot of us try to keep the sustain going as long as possible to achieve kind of a horn-like effect. Check out Red Mitchell for a great example of this.
I use the up-and-down method that you mention on one string, as Red did, to help this along. Red wrote a tune called, "One Long String" that gives you an idea of what he was going for.
This can be a double edged sword, because when it comes time to be playin' some time, you don't want that much sustain happenig when you're trying to separate quarter notes.
Thomastik Orchestra Strings are the choice of many jazz bassists. But, you do have to learn how to control them.
Best of luck, but there ain't alot of luck involved.

[Peck_Time]

Originally Posted by Paul Warburton

Best of luck, but there ain't alot of luck involved.

I think you've just explained music.

[Alexi David]

You do what works for you, sound-wise. Often you will have to make compromises if you want to play certain fast passages (playing across the fingerboard). Playing across came more into vague with the advent of steel strings - try playing across with big fat ass gut strings with high string height in 4th position to see what I mean. Ron Carter is a big advocate of playing across.