That's what I used on my Ibanez. I liked it. I would go with a .142 in the future for BEADG tuning.
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Circle K strings...
- Thread starter James Hart
- Start date
That's what I used on my Ibanez. I liked it. I would go with a .142 in the future for BEADG tuning.
- Aug 5, 2005
- 7,243
- 92
- Disclosures
- Endorsing Artist: J.C. Basses
They're pretty bright, and they seem to retain that brightness for quite a while longer than most other strings I've tried.
just received my order today... Thanks Skip!
replaced the carvin flats (made by labella) on one bass (4 string) just to try these circle k's out after reading so much about them here on TB.
I got the 112 balanced. Made a 'minor' adjustment to the truss rod and action to compensate. This bass is tuned down a whole step- reason for the thicker gauge.
Both my basses were strung through the body and these strings are not made to do that so I was expecting a little necessary adjustment to get used to the difference in string slack but actually found it not noticable at all. They feel amazing!
The sound= incredible!
Dont think my bass ever sounded or played this good! Honestly!
Ive only had them on for a few hours but so far I really like them.
Thanks to this 37 page thread and to all that "unkowingly" talked me into trying them.
and thanks to you Circle K for making some really killer strings! got em just in time for my gig sat too
replaced the carvin flats (made by labella) on one bass (4 string) just to try these circle k's out after reading so much about them here on TB.
I got the 112 balanced. Made a 'minor' adjustment to the truss rod and action to compensate. This bass is tuned down a whole step- reason for the thicker gauge.
Both my basses were strung through the body and these strings are not made to do that so I was expecting a little necessary adjustment to get used to the difference in string slack but actually found it not noticable at all. They feel amazing!
The sound= incredible!
Dont think my bass ever sounded or played this good! Honestly!
Ive only had them on for a few hours but so far I really like them.
Thanks to this 37 page thread and to all that "unkowingly" talked me into trying them.
and thanks to you Circle K for making some really killer strings! got em just in time for my gig sat too
Just noticed in using the charts for tension that there is NO Bb tension line.
no tension specs for high Bb on an 8 or more string bass.
Any special reason?
no tension specs for high Bb on an 8 or more string bass.
Any special reason?
232 set tuned to octave below B. This gives me back my high C on a 6 string. C# low dropped to B gives BEADGC. Oh happy day, my day of enlightenment to the benefits of drop tuning!!
Ooops, duh, etc. You are right, my friend. Enharmonically speaking , of course. I guess I was so excited about my new discovery that I lost sight of the old. Thanks. At 60 you start looking for things lost that are right in front of you. 
PS: I don't ever remember playing in A# before but lots of times in Bb.
PS: I don't ever remember playing in A# before but lots of times in Bb.
Ooops, duh, etc. You are right, my friend. Enharmonically speaking , of course. I guess I was so excited about my new discovery that I lost sight of the old. Thanks. At 60 you start looking for things lost that are right in front of you.
PS: I don't ever remember playing in A# before but lots of times in Bb.
I still don't get the whole flat/sharp thing. Seems needlessly complicated.
I agree ... but most people stick to the standard notation system because most people use it ... and therefore nothing changes *sigh*
I like the idea of a chromatic stave. Using existing stave paper, one stave per octave. The gaps are FGAB, the lines are EF#G#A#C, plus one ledger line between that is D.
I like the idea of a chromatic stave. Using existing stave paper, one stave per octave. The gaps are FGAB, the lines are EF#G#A#C, plus one ledger line between that is D.
Yeah. Let us change it all to ABCDEFGHIJK each for thee 12 notes in the western scale. Play in A = A, B = A#/Bb, C=C, D=C#/Db, E = D, F=D#/Eb, G=E, H=F, I=F#/Gb, J=G, K=G#/Ab,
Something like that, i m missing something. (Maybe my mind).
Something like that, i m missing something. (Maybe my mind).
I've used four, five, and six string sets from them. They've been the longest lasting and most even feeling strings I've ever used...and I work in an all bass shop, so I've used almost everything available in the US.
The odd string gauges gave a truer tone to my ear and an insane amount of sustain. B strings are colossal. Well worth the price since they last so long. They may not be for everyone, but I really dig 'em.
The odd string gauges gave a truer tone to my ear and an insane amount of sustain. B strings are colossal. Well worth the price since they last so long. They may not be for everyone, but I really dig 'em.
Key of C denotes that there are seven possible notes within the key and the five other notes outside of the key. So the origin of flats and sharps is fairly obvious. The note names are absolute so when you modulate through the circle of fifths, clearly the relationship of the absolute notes to the changed key will also change.
No offense, but you may as well have been speaking greek there. Still doesn't make sense to me.
Spend about 2 weeks in a freshman theory course and everything will be a lot more clear.
Try to memorize the cycle of Fifths and Fourths...once you do...it will unlock so many mysteries in music...maybe the universe.
Everything I do, my practice is based around it..instead of doing runs A/B/C/D etc....
Go...C/G/D/A/E/B...etc...then backwards...F/Bb/Eb...etc.
Try thinking of it as a clock...C is 12 no #or b's / G is one oclock...with one sharp
Everything I do, my practice is based around it..instead of doing runs A/B/C/D etc....
Go...C/G/D/A/E/B...etc...then backwards...F/Bb/Eb...etc.
Try thinking of it as a clock...C is 12 no #or b's / G is one oclock...with one sharp
I don't really care enough to take a class on it.
I learned bass from a book and at one point it went over the circle of 5ths, and the whole thing just seemed needlessly complicated. And it didn't explain to me why we use sharps and flats in music.
- Aug 5, 2005
- 7,243
- 92
- Disclosures
- Endorsing Artist: J.C. Basses
Crash course:
Accidentals (sharps and flats) weren't around from the beginning - things were done with only the 7 notes. Eventually, sharps and flats were introduced so as to retain the original 7 notes (A through G) and add 5 more for different key options. Thus, a system of sharps and flats came to fruition.
Now, the reason some keys require sharps and some require flats is because every key needs to contain one of each of the letters.
In the key of A#, we get this weird situation:
A# C D D# F G A
We can correct it by calling it Bb and using flats instead:
Bb C D Eb F G A
It's not perfect, but it's better.
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Chromatic stave using the existing stave. With this transposition the 4 gaps visually represent the 4 white keys of a keyboard FGAB and the 3 lines between these gaps visually represent the black keys F#G#A#. White and black notes are symmetric around D and the staves are now also symmetric around D.
[Invalid or Expired Link Removed]
Chromatic stave using the existing stave. With this transposition the 4 gaps visually represent the 4 white keys of a keyboard FGAB and the 3 lines between these gaps visually represent the black keys F#G#A#. White and black notes are symmetric around D and the staves are now also symmetric around D.
[Invalid or Expired Link Removed]
