Doug Parent
Supporting Member
Would you recommend intonation on a new set of strings before pressing down on the string at the witness points? I've always though intonate first, then seat the new strings....
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Would you recommend intonation on a new set of strings before pressing down on the string at the witness points? I've always though intonate first, then seat the new strings....
Just my unscientific perspective, but seems since a new string will stretch rapidly for the first few hours, requiring more frequent tuning, that it may be best to wait those few hours before you press it at the bridge and nut.
Thats what I do. I'll intonate it, let it sit for a few hours, then seat the strings(mostly the B and E), then check intonation again.
My D’Addario chromes are 12 years old. Taken on and off. Still sound great/excellent intonation/feel. Roger gave me ‘brightness refresher’ compounds in my treble/VTC.
This process may be debatable but I always stretch new strings upon installation, so thats already addressed.
Me too, all the “how to” videos I’ve seen in the YouTube era and my Bass player magazine before that, use the stretch and press at installation method. Always worked for me, although I will check the intonation for a few days after and make any adjustments. YMMV.
what are you talking about when you say stretch and press? Are you taking about letting the strings stretch after installation before you press the break angle at the bridge?
Lucky for us, Ellis will demonstrate all this and more in less than 2 minutes:
See the video post below yours..this is exactly how I do it, then I fine tune saddles.
Joeykun
pronounced ジョーイくん
- Jun 22, 2007
- 4,200
- 16,150
- Disclosures
- Endorsing: LAKLAND SADOWSKY GENZLER DARKGLASS NORDSTRAND TEMPLEBOARD KIRLIN DRSTRINGS ACCESS
I think a new set not just brighter than an old, tired set. Fresh strings are more "stronger", much more sustain and attack, and magnetically "virgin". I used to be cleaning my old strings, when I can't afford new ones, but couldnt copy the freshness of the new sets completely.
It is more natural soluton for brightness than EQ. Just like in studio work, you have to strive for the best sound to record, not modifying after.
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I adhere to the advice from a couple of guys that build a few basses regarding this "string break over the bridge" issue in relation to intonation.
+1
Removing the load (taking the strings off) halts the Creep process until reapplication of the load at next install. I would never recommend daily use of that method; because cyclic loading gets into an even more complex process, known as Fatigue.
And, yes; Roger’s preamp is one of the Seven wonders of the modern Bass world.
I'm doing 'Jamerson/Willie Weeks/Chuck Rainey' P-with-a-B though. 99% of the my gigs. Completely different realm of bass tone.
My other Sadowsky fretted 5 (another PJ5 most recently) will wear rounds, and yeah, all of what you said applies to that bass. I personally like a well-broken in set of SS strings, and will go about 2 years or so between changes. Once I dial in a setup/string brand, with my machinist's ruler and taking notes to log what I like, I typically don't have to touch anything except occasionally the truss rod a wee bit one way or the other.
Alright folks I’ve narrowed down to 2 Metroline basses. One is a burst with Alder and Morado fretboard and is in the US and the other is a LTD wish ash body and Roasted maple fretboard. What would be the tonal differences in the 2.
In theory the alder body with morado fretboard would not be as bright and punchy as the ash body with maple fingerboard. My understanding is that supposedly roasting the maple tames it a bit. I believe the Sadowsky Metro you already had was alder and morado right? You should have a good feel for what it sounds like. My personal preference is the maple fingerboard on Sadowsky but YMMV. IMHO the electronics will influence tone more than the body woods. Fingerboard might be more your preference.
What pickups are in each?
What's the weight difference between the two?
Regarding the entire string discussion.....seating the new strings at the saddle is not a matter of pushing so hard as to crimp the string. It is more of a gentle push down on the string directly in front of the contact point of the saddle. One should stretch the strings until the tuning stabilizes (I pull up on the string like pulling the string on an archery bow). Then intonate. I do not find any need to wait long periods of time between any of these steps.
With all this discussion of string changes I got some of the gorgomyte stuff and DR Fatbeams and restrung a 4 string. Yikes, the white gorgomyte turned completely black after the application. The rosewood and frets look and feel terrific, however. Also, I tried the Fatbeams (round core steels) as a possible temporary substitute for my preferred Sadowsky Blue Label Steels. Not too bad!
I’m a bit late in celebrating my Sadowsky’s 31st birthday.
