Ibanez SRX 655, Ibanez ATK 305, Peavey Millenium BXP 5 {$239.00} All have great B's for 34's, better than some 35's I've played.
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34" Scale with a good B?
- Thread starter Poop-Loops
- Start date
My Warwick Thumb neck through is 34" scale and the B string is great. As alot of the guys have said though, there are alot of 34" scale basses with great B strings, just try out a bunch of 'em!
Ditto on the Thumb B string, no mud. Great bass.
I was fretting over whether to change up to a high C, but I liekd the low B and have a higher tuning bass other than this one, so I left it and learn how to use it better. Getting the mud out so to speak.
Modulus uses a 35" and it's like an E string
Tom
I was fretting over whether to change up to a high C, but I liekd the low B and have a higher tuning bass other than this one, so I left it and learn how to use it better. Getting the mud out so to speak.
Modulus uses a 35" and it's like an E string
Tom
Ken Smith Basses! IMO, one of the best 34" scale necked B strings in the business! There are so many factors that can contribute to a floppy B string but scale length ain't one of them! Just my opinion! But this is debate that can go on until the ends of time! Just play as many basses as you can and make your own determination! Let your hands decide!
Ummmmmm, physics?
Yes, good construction, strings, electronics, and technique can make most low B strings sound good, but adding more tension is an easy way to physically elminate the flop. Going from 35" to 34" is almost a 1/2 step worth of tension.
Fortunately, luthiers know a few tricks here n' there to get the setup and tone to be just right.
What makes for a floppy B? Could it be technique? Some folks pluck harder than others! Some folks play down by the bridge where the string is a lot tighter and some play up by the neck where the string is a lot looser! Yeah, physics plays a bit part but still there are many manufacturers (very knowledgeable builders) who have stuck with 34" scale and have some of the best B's in the business. I just don't think it's fair to push someone to a 35" scale instrument and discount the excellent 34's out there! 35 is not better! Just an alternative.
f = fundamental frequency
L = string length between fixed
points (i.e. bridge and nut)
T = string tension
P = string mass per unit length (related to string gauge and construction)
so to get the same f/sqrt(T) as other strings you have the choice of a longer scale or a bigger gauge. Both have drawbacks, a longer scale can be a stretch, a bigger gauge can be stiff and become difficult to intonate (that's why there are tapered strings).
I believe one of the important things is to have really good contact at the witness points so the edges of the string approximate a clamped edge vs a simply supported edge. Look for something with a good break angle at nut and bridge. I put a string retainer on all my strings and even my wife commented on the improved clarity of the B string.
f = fundamental frequency
L = string length between fixed
points (i.e. bridge and nut)
T = string tension
P = string mass per unit length (related to string gauge and construction)
so to get the same f/sqrt(T) as other strings you have the choice of a longer scale or a bigger gauge. Both have drawbacks, a longer scale can be a stretch, a bigger gauge can be stiff and become difficult to intonate (that's why there are tapered strings).
I believe one of the important things is to have really good contact at the witness points so the edges of the string approximate a clamped edge vs a simply supported edge. Look for something with a good break angle at nut and bridge. I put a string retainer on all my strings and even my wife commented on the improved clarity of the B string.
Wow...I'm not even sure why I was searching through this thread but now I'm glad that I did. GREAT post. Thank you. I'll certainly keep in mind the comment about the string retainer. Really good advice.
Anyone notice the angle at which Cliff Bordwell makes his headstocks? There's a reason why he's having success with shorter scale lengths on basses with a low B string.
I'd also like to think he has some sort of mojo with his choices of lumber and other construction techniques, too.
Oh sure, there are other factors of coarse. The headstock angle is a part of the equation.
Stingray's have one of the best b-strings for a 34" scale bass. I just much prefer the Lakland 35" scale basses. Much better b-string and a great all around bass.
Indeed. Although I learn't that his headstock angle isn't very conducive to Hipshot D tuners. I ordered a 35" scale 4 string fretless (why???? no...why not!!!) and kinda wanted the D tuner, but thought I'd test out his headstock, leave it in dropped D, and see what happens.
After I get that bass, I was planning on ordering a 37"-34" fanned 7 (zoinks!), but I figure plenty o' scale lenght should be enough and I'll go with a more conventional angle for dropped A tuning.
Although another interesting bass is the Rob Allen. His 35" scale basses are shorter than most 34" scale basses. How??? The saddles are at the very edge of the body. My 35" scale MB2 is the same overall length as my 32" scale Fender Urge I.
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Here's another interesting beast that would seem to be a healthy compromise of everything.
Those KR Guitars look great but I think that they're priced too high for such a new builder.
Perhaps, but it looks like there's a good deal of time consuming wood working involved in those beasts. If I were able to try one and liked it, I'd probably pay that price. Obviously not now since I just bought a house and have a Conklin coming later this summer......
Not adding much here, but...
SR5's and Sadowsky Metros have perfectly usable B's.
Pedullas, especially the neck through Thunderbasses have great necks and very tight B's.
I am continuing to have great luck with a Gibson Tobias Classic 6 that has a phenomenal B.
Generally, my experience is that the neck throughs have a slightly tighter B - or perhaps its just the sense of the fundamental.
Another +1 to the comment about the solidity of the witness points, particularly the break angle at the nut. IMO, that is key.
SR5's and Sadowsky Metros have perfectly usable B's.
Pedullas, especially the neck through Thunderbasses have great necks and very tight B's.
I am continuing to have great luck with a Gibson Tobias Classic 6 that has a phenomenal B.
Generally, my experience is that the neck throughs have a slightly tighter B - or perhaps its just the sense of the fundamental.
Another +1 to the comment about the solidity of the witness points, particularly the break angle at the nut. IMO, that is key.
f = fundamental frequency
L = string length between fixed
points (i.e. bridge and nut)
T = string tension
P = string mass per unit length (related to string gauge and construction)
so to get the same f/sqrt(T) as other strings you have the choice of a longer scale or a bigger gauge. Both have drawbacks, a longer scale can be a stretch, a bigger gauge can be stiff and become difficult to intonate (that's why there are tapered strings).
I believe one of the important things is to have really good contact at the witness points so the edges of the string approximate a clamped edge vs a simply supported edge. Look for something with a good break angle at nut and bridge. I put a string retainer on all my strings and even my wife commented on the improved clarity of the B string.
Thanks.
To expand on your last paragraph:
The equation you posted assumes that the ends of the string are fixed. Not just "on a nut", but literally fixed, so they cannot move. That means they are clamped to something that is infinitely hard. Nothing like that exists, so vibration gets carried through to the nut, saddles, and beyond those points to the rest of the string and the body/neck of the guitar.
Another question for you guys:
Where do you guys buy your gear? I have Googled all these names, but it's hard to find a store that carries them (even online ones) and ebay is almost empty. Craigslist gives me nothing, even though I live in the Seattle area, so you'd think there would be more bass players with so many people around.
You got to be patient and also look here.
I'd not fret over a 34 vs a 35.
If you like low, then the 35 is a good bass.
If you are a piccolo type, then have a 34 as well.
Try and learn both.
I have a 34 and a 35" scale and I like them both, they each have a different, subtle, but different feel and sound.
The 34" Warwick I really liked and was worrying over.
It's not the car/bike it's the driver, it's not the bass, it's mostly us.
A nice bass will help you get there easier, but in the end, it's up to you.
I was wondering whether to take the B off the Warwick and add a high C.
I liked it and have the higher notes on other basses that are more suited for that. So I opted for the low B.
If you like pedullas, go for them.
Take your time and try and get one for a decent price, they are well worth it.
Then get a speaker cab/amp that handles the lower notes in the 30Hz ranges. That can and does make a big different in the mud factor.
Tom
I'd not fret over a 34 vs a 35.
If you like low, then the 35 is a good bass.
If you are a piccolo type, then have a 34 as well.
Try and learn both.
I have a 34 and a 35" scale and I like them both, they each have a different, subtle, but different feel and sound.
The 34" Warwick I really liked and was worrying over.
It's not the car/bike it's the driver, it's not the bass, it's mostly us.
A nice bass will help you get there easier, but in the end, it's up to you.
I was wondering whether to take the B off the Warwick and add a high C.
I liked it and have the higher notes on other basses that are more suited for that. So I opted for the low B.
If you like pedullas, go for them.
Take your time and try and get one for a decent price, they are well worth it.
Then get a speaker cab/amp that handles the lower notes in the 30Hz ranges. That can and does make a big different in the mud factor.
Tom
