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Anyone moved away from bothering with a B-string?

You seem to have a major chip on your shoulder about this, why would you even care how many strings someone else uses?

Live and let live - concentrate on doing what you want to do, not what others do.

The thread headline was about this, how many strings, and if anyone that has used more strings before, has started to use less strings. And I have highlighted the "EACH TO THEIR OWN" thing. But brought up the topic that hasn't been discussed in this thread as of yet. That - maybe - less is more? Since the thread is about people, you, me, others has gone from 5 to 4 and why.

And did the comparison with drummers, and their large kits. They have never ever impressed me with their large kits. They have impressed me with their skills. Regardless of large or small kits. Thus it's the same with bass players.

And yes, when watching any band live, I have not being more impressed by people using more strings. Moreso, less.
 
I moved away from 5 string and back to 4.
I play simple covers... Started with 4 and curious about 5 or to be frank...more of peer pressure actually.
Tried b string on both both 5 and 6.
Can't get the joy of playing as much as when with a 4 and to be frank due to my limited skill.
Thus I decided do without the b string... As I play bass for fun and want the fun to be above everything else
 
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I think Honch is actually making a valid point: constraints stimulate creativity. This can be in limiting yourself to 4 strings or a small drumkit. In my other passion, photography, it consists in leaving the zoom lens at home and going out with just one prime lens (you'll find endless discussions about this on the photography forums). Similarly, writing a poem within the strict rules of a sonnet requires more skill and creativity than writing prose.

But even so, in the hands of skilled artists, both the limited and the extended options can yield impressive results...
 
I tend to just like a 5.
I've gotten so use to playing 5's a 4 just doesn't feel right. It feels tiny.
I do use the low B a lit and just like to use the B strings to stay in a single position vs moving around a lot.
 
Yeah, we all know that Tony Levin is equally as creative and good on his 3 string AS on his 10 stringed Emmet Chapman Stick. You can give that guy a welding unit and he will swing like hell on that. And - actually - this is OT for this topic, I have seen more of these 7-9-12 string bass people live on stage, and while they're good, I find them mediocre in tone and originality. A little on the border of boring. So far at least. But if a bassist uses 5 or 4 strings on stage, I really couldn't hear any difference between the bassists musicality. It's not that he opens up in creativity when swapping to his 5er. And makes the (non musicians) part of the audience go 'wow'.

Most hard rock drummers I know, downsizes, as their experience and seasoning grows, and they become wiser. They simply don't need it, that double bass drum or toms tuned in the whole tone scale in triads and full twelve tone scale. I know of keyboardists that gigs with a piano sound on their 76 keys keyboards, not 88. And so on. And it's NOT about lugging the hardware around. I do think, in the end, that it has to do what instrument we were starting out on were we were young. If you started out on a 4, you seem - later on - comfortable in coming back to that one again, after adventures in Penta-string-land. If someone started to play 5ers when you were 10 years old, that would be the same, and you'd be comfortable on that, because you never ever had heard of 4 string basses. It's printed in the subconcious forever.

I do however, have discovered the opposite, with people going from fretted to fretless basses. The majority I know of, if not entirely turning to acoustic upright, they won't go back to any fretted bass again. Once they've honed and nailed the intonation of a fretless bass, they tend to NOT go back. This is regardless of that fretless being a 4 or a 5er. They may keep their fretted 4ers for obscure occasional gigs, with funky stuff, but brings their fretless out only. Because they've discovered that they can do ANYTHING on that fretless that they could do on a fretted, but not the other way around. But this is huge OT. Sorry for digressing. But that's a similar SEASONING and growing skill and professionalism that comes with age and experience only.
 
Have one 5 string; an old Jackson Pro Concert V strung with LaBella SuperSlaps rounds. Like it very, very much. The band I was in around 2000 did a lot of harder edge rawk and the low notes fit in with what was being written. Also worked with my fusion band around the same time = rock-jazz-Latin-exp. Nice to have the extra low notes.

Would love to have a fretless 5 ebony board, prolly a 2 pup MTD, just for jazz grins w/ halfies and a Lakland Skyline 55-02 rosewood for the same reason, except with flats.

But don't play out or record much anymore. I'm old and moved to the end of the world out in the sticks. The opportunities just aren't there now.
Mostly play 4 stringers - fretless Ripper w/ halfies; moded P > JPJ with flats & rosewood; Ricky 4001 w 25 yr old Roto Swing66; & a Maple MM Sterling with FlexSteels (prolly going back to ProSteels) maple board. 99% gets played on 4 bangers.
 
I got into the 5 string game very late into my playing. I was on a 4 banger for 25 years before I picked up my 5'er. I bounce back and forth every now and again for funzies, but I love that 5'er. All the while I played the 4 string, I always wanted that Low D. It can really make a difference. So, I stick with my 5'ers and have a ball not having to hit open E and can run upwards of the 12th fret to get super ballsy and phat on those upper notes.

Sounds like me. I started playing in 1970 and didn't get my first 5 string until late 2010. Reason I got one is because I'd been on my churches music team for about three months, noticed how many of the songs used a 5 string and felt I was missing out on something. I loved it right away!

My only gig these days is at church and I use my SR505 about 98% of the time because it sounds and works so well. Once in a while (and depending on the songs) I'll use my 4 string American Standard Jazz. Love that bass as well and I play it at home quite a lot.
 
Don't forget that there's a whole music genre (or several) out there that relies totally on DROPPED or downtuned instruments, and deviate from regular tuning, both bass and guitar. However, it's moreso about the tuning, than the reliance on "one more string down low". It's mostly in the heavier rock styles and metal (not to speak of the latest fad, called "djent").

Remember, that Jimmy "Flim" Johnson was the bassist that made the first 5 string recording in 1978, with low b, but that was jazz fusion. On his Alembic.

Even way back in 1973 when Black Sabbath released "Sabbath Bloody Sabbath", the title tune went in C #. Tony Iommi, the guitarist, used to drop all his tuning to Eb, in order to make strings softer due to his finger damages at fretting hand, and on top of that, used a "drop d" tuning to that. I e his low e-string was tuned down to C sharp. Thus, Geezer Butler, their bass player, had to follow him down. There's no way he played a regular tuned bass tuned in E, and played this C# note on the fourth fret on the a-string. He did tune down as well, and changed string gagues accordingly. He didn't need any fancy newly built basses for this (extended scale), but used his plexiglass Danelectro, Rickenbackers, Fender P or J basses, for this. You can check this out for yourself by checking out their low dropped tunes on iTunes or Spotify. That the resulting tone, or timbre of the bass wasn't that good, was another matter and maybe a recording limitiation from the gear used in those days. I think even it started on the "Masters Of Reality" album, where he dropped to C#-F#-B-E tuning. I think this is the first one I've heard of doing this that early. Also, I've never ever heard of him using a 5er. Maybe very briefly*, but he's been a 4er most of the time.

Most nu-metal bands today, their bass players doesn't use any 5ers. They use 4ers but drops tuning down low. BEAD or else. Even Warwick Warlord has F# as a lowest string. But still a four. I do think that this has more to do with that we like open strings. I e that it is better to get a new four string bass, with maybe fan fret, or extended scale and still use only four string, but tuned down a step or two. Or more.

I did not forget to tell you that I still use both 4 string and 5 strings. 50/50 of the time. I swap between them. I feel equally at home with them. Even if the 5er is a Dingwall combustion. The thing with the fiver is that when bringing it to any gig, I have to make sure the amps and cabs are up to snuff too, you have no use for a low b-string if put through a 10" 80 watt combo, if you can't line it out to any PA. And when and if I play a fiver through those amps, I don't rethink my playing all of the time and goes "Hey, I have to watch it, so my fingers don't go down to that b-string...might as well uses it as a finger rest for this gig..." :)

Maybe we'll have to re-phrase and change out the wording in that old catchphrase "There's no money above the fifth fret" to "There's no money below the fourth string?" :-)

*http://www.talkbass.com/threads/geezer-and-5-string.578683/
 
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I started on a 4 in the early eighties and only played them until just about 3 years ago. When I got my first 5 it was not because I thought I needed one, it was because I had an interesting trade opportunity for a 1989 Stingray. After learning how to play that thing I could not believe the increased tone palet and better playing position ability. I kept a four always thinking I would need or want it but really never did. I have everything I need with a 5, including a 4. And even though I can play my music on a 4 I don't think it sounds as good for what I am trying to do, particularly with the modern country. I have now sold all my 4's and have not missed them once. I am also the kind of guy that cannot play multiple instruments in a night for "different needs" - I like to use the same one for everything, just one of my quirks.
 
I personally use a 5er almost all the time. I just like having the B string there.

Do I NEED it? Not really. Only one or two songs I gig absolutely require me to go below Eb (we tune down a 1/2 step) on my classic rock gig, I use the B for a thumb rest for most of the night.

I didn't own my first 5er until 2006/2007 and I played 4's since 1984. To each their own though.
 
If you think the B is about going lower than E you're missing the point. The B lets you move *across* the fingerboard instead of up and down the neck. Ever play a descending run in C or D and have to finish it an octave up? That sounds lame to to me. It's harder for me to slap on a 5 but with a wider neck I may overcome that.

You need to just try a 5 with 19mm spacing.. Like a MTD or some of the Fender offerings.. IMO if a person feels that the B string is a "bother" then they need to play a 4. It is all about the player and what he feels comfortable with. I have two 4s .. one is my 78 Jazz and the other is my recently acquired Breedlove ABG.. I decided that the B on the ABG was not to my liking... and the 78 Jazz I bought new in 78 and will most likely never sell it. Otherwise for me the 5 is the starting point and I use the B all the time. I am actually planning to get my first 6 soon.. and that just to expand my playing.. I may nebver play it out .. or not play it out for a while.. but to me the 4 string bass is limited when it comes to resolving on the lower end... I know Stanley and Victor and Marcus and Esperanza and Rhonda and so many other incredible players still play a 4.. and that is cool and that is them.. but for me... the 5 is where it is at and if I were to ever give lessons I would start out any student on a 5 right off the bat. IMO the key to appreciating a 5 is getting a bass with a decent B string... If you have that then it is in most cases IMO a no brainer.. especially if you play a lot of gospel or a lot in any key between C and E including the minors that go there like say Am, Bm etc...
 
IMO the key to appreciating a 5 is getting a bass with a decent B string...

Yes, and maybe - note the maybe - it's that why they are going back. What's decent for you is not decent for me. There's little problem with finding a good 4 with a "decent" E-string. Or much less so. The posts mostly on all bass forums, has now and then the topic "problem finding a good 5 - please advise". And from there on, the posts goes on and on. String manufacturers tries to buck this with different alloys, tapered wounds, gauges, and invents solutions to problems that are really no problems.

Never ever seen a thread "Problem finding a good 4, so I'll stick with a lame 5er" People don't have the time and patience to drop major dough in order to find out that the low B turns out always flubby, and the amp/cab equpiment needed for producing those lows are out of their price range. Remember, people here said it's nothing about the playing positions, that you don't have to move up and around the neck so much. This would also render a 4 string tuned BEAD out of question, the B will sound flubby just as well there. A F# sharp on the 7th fret on the B-string does not really sound just as good as on the 2nd fret on the E-string. Save for Dingwall fanned frets or similar high end basses. I find the notes up on the neck of the low B-string somewhat useless regarding timbre and sustain. You want the sustain and long open notes with full definition and articulation AND strong fundamental. So here we go again, with the "no money above the fifth fret" thing.

It may very well be JUST that, the timbre and core note/tone quality of a 4 that makes them go back, as you said. "Getting a bass with decent b-string" is what MAY be what's all about. That you can find a good 4, there's 13 to the dozen of'em, but to shop around and try out every 5er on the planet until you stumble up on a good one, is out of most peoples wallets/ pastime. Multiscale, or fanned frets may be just one of the mitigating designs in order to produce that "decent b-string".
 
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I've considered doing it (again...), but I mostly do covers in various bands as a sub/hired gun, and having the B has turned out to be crucial for me: Different bands play the same songs in different keys, so I have to transpose on the spot a lot. That is a LOT easier for me on the 5'er than on the 4 I had until recently. I know I could change the baseline accordingly when needed, but most of the time the bands want it to sound like the original baseline. The 5'er is just a good tool in those situations. I also do some gospel-stuff, and these guys like me to go deep as well as high, using to full tonal range of a 24 fret 5'er - so tuning down a 4 isn't an option for me in that setting :-)
 
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I agree with this. I also use the 5 when I do not want to think about fingerings. OTOH when I am working tunes for consistent play in a cover situation I will choose the 4 with the HipShot. Sounds better to me. And my 5 is NOT shy on the B, but very even.
 
I think Honch is actually making a valid point: constraints stimulate creativity. This can be in limiting yourself to 4 strings or a small drumkit. In my other passion, photography, it consists in leaving the zoom lens at home and going out with just one prime lens (you'll find endless discussions about this on the photography forums). Similarly, writing a poem within the strict rules of a sonnet requires more skill and creativity than writing prose.

But even so, in the hands of skilled artists, both the limited and the extended options can yield impressive results...

This is the valid artistic point. Just as you find endless "less is more" discussions on drum forums about how creativity can be promoted by moving all the drums aside and playing just a 3 piece kit, and I've done it both playing drums and in photography. You've seen the "contests" for pro photographers who are only allowed to use cheap "snapshot" cameras. And guess what? The pros produce amazing photography with those cheap cameras. Just as we've seen the masters produce amazing bass lines with just 4 strings. So in that sense the ability to be creative does not depend on extreme gear. The ability to produce excellent art doesn't only depend on your gear.

But I can say that while that "limitation" indeed IS instructive and stimulating to your creative juices, there is also the fact that when your gear is limited that means you CANNOT do certain things that other gear allows. The fact that you can't do them, doesn't mean your art has to suck. You just put the things you CAN do together creatively and it comes out great. To think that it's about the gear is to think that a master painter can't produce a masterpiece if he happens to be out of red paint. Such an idea is nonsense. However, in that case, he won't produce a RED masterpiece!

So in the end it's all about what YOU want to do and what things you want to use to make your art. So if I want the things 4 strings gives me, I play 4 strings and if I want the things 6 strings, gives me I play 6. This isn't hard to understand.