Cool... and see Ken's post about the NYC neck finishes... it's probably just a minor batch variance.
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I hear what you are saying there. I dig the Blue Label Sadowsky strings on my bass, but they are quite unforgiving (LOTS of upper mids), and very high tension. I like them in a mix more than at home, where they can sound just a bit ganky. Great strings though, and they last a long time.
The DR Hi Beams (I have those on my 70's style Alleva-Coppolo) are very low tension and feel great... GREAT slap strings, but just a little too polite for what I look for in the Sadowsky (they don't 'burp' much).
So.. the main point
... my buddy Steve (Burk) brought his virtually identical to mine Sadowsky over the other night with DR Lo Rider Steels on it. Man, they sounded GREAT.... and sat literally right between the Sadowsky Blue Labels and the Hi Beams regarding tension, upper mid grind, top end, and low end. Highly recommended if the Sadowsky strings are a bit too unforgiving, and the Hi Beams are a bit too pure and airy sounding. IMO and IME.
+1So.. the main point
I do love the Sadowsky strings, but I tend to gravitate more back towards the DR SS HB's and LR's for the most part, and the LR's are what I use most overall... even regardless of alder/rw or ash/maple.
Forgot to mention, remember to reset your intonation. Moving from a tapered string to a non-tapered string will require you move that saddle back some (lengthen the string).
I really need to revisit those as my tastes change a bit over time. Last time I tried a set, I still liked the SS's better, but maybe now it'd be different.
I'm even gonna' be trying some Sadowsky nickels and even flats.
Warm and slinky goodness. Not really my thing, but they are great strings if that's your pref. In fact, I don't think there's anything else on the market that directly competes with that set.
I haven't played them but I am sure I would like the Lo-Riders a lot as well. I have used Long Necks on Lakland and Fender string-through-body basses. I believe that they are simply a tapered core Lo-Rider.
I wish DR would offer a taper core string that had a shorter taper than the Long Neck. I prefer a taper core string, but the DRs don't really work well unless you string through body. The taper is too long. I actually end up playing on it sometimes.
I wish DR would offer a taper core string that had a shorter taper than the Long Neck. I prefer a taper core string, but the DRs don't really work well unless you string through body. The taper is too long. I actually end up playing on it sometimes.
Meh, if you don't like stiffer strings, I'd think you'd still be back on your HB's pretty quick.
Correct. I used them almost exclusively on my American Deluxe Fenders. That long taper was perfect for string-thru.
+1!
I don't find much advantage to taper core strings (even the B string), other than it is just slightly easier to change the B string. I don't really think there is a tonal advantage, and many set-up pro's actually believe there is an intonation disadvantage to taper cores (especially on the lower/heavier strings).
That being said, the only DR string that gets less than wonderful reviews (in general) are those long necks. Never tried them, and can't remember why quite a few don't dig them... maybe for the reason you state.
Anyway, even though my Sadowsky Blue Labels have a tapered B string, I don't view that as a meaningful thing in my string choice. IMO!
The Long Necks are great strung through body. But, they are designed with a long enough taper to accommodate this and still allow the exposed core to break over the saddle. So, when they are not strung through body, you end up with a ridiculously long exposed core. Not only is this a feel issue when you back up on the bridge, but is also tends extend into the field of the pickups on some basses and create a really odd "warbling" artifact that is simply unbearable. I experienced this with them on my Q5. I think the warbling is major beef with them for most.
You are probably right about the taper core advantages -- or lack there of. I am just used to them. I used DM SR2000s forever and always got great service out of them. You just can't hardly find them anymore, and I have gotten used to the DRs.
I'm generally pensive about tapered strings, but not because I disagree with the theory (which IMHO is good). It's because I think it's really really hard to make tapered strings where you don't also have winding rattle and odd overtones that are more prevalent than desired.
The theory, again IMHO, is good. You want to have a good break angle over the bridge saddle to get great tension/coupling at the bridge. The problem is, if you want the string to rotate and move more naturally, that's a problem with the bigger strings with more layers. The idea is, you get the break angle nice and sharp without having to stress the string architecture as much.
IMHO, it works, but then you have the other risks.
In the case of the DR's, I think the main problem is the length of the taper (as already mentioned). That puts the taper right over the top of most bridge pickups, which IMHO hurts tone significantly with added overtones/impurities due to the resulting "string mass inconsistency" within the sensing region of the pickup.
Anyway, FWIW.
I find the Sadowsky SS Blues to be very similar to the Lo-Riders in tone and feel. Maybe a bit stiffer, but they seem to last longer so I made that move to the Sadowsky's. I'm going to try the Blue Nickels soon. I wonder how they differ from the Blacks, which I didn't care much for.
+1
This is the one taper set I keep coming back to for that reason. And BTW, MF seems to always have them, and they're not expensive, so availability shouldn't really be a problem.
All right--away from pickups and back to strings and setup! Finally. 
Seriously, what would cause an open E string to ring with an extra "zing" overtone to it? It's not a "buzz" but more of a "zing"...if that makes sense. The best comparison I can come up with are the opening ringing notes before the drums kick in of Michael Jackson's "Beat It". Not that pronounced, but to a lesser degree.
Back story: I recently sent my 2006 MV4 up to Brooklyn for a few items, including a setup. It came back with an extremely flat neck and very low setup. (I need to adjust my heavier right-hand touch.)
Might this extra zing-y overtone just need a little more neck relief to alleviate it?
Any other ideas?
Thanks.
Seriously, what would cause an open E string to ring with an extra "zing" overtone to it? It's not a "buzz" but more of a "zing"...if that makes sense. The best comparison I can come up with are the opening ringing notes before the drums kick in of Michael Jackson's "Beat It". Not that pronounced, but to a lesser degree.
Back story: I recently sent my 2006 MV4 up to Brooklyn for a few items, including a setup. It came back with an extremely flat neck and very low setup. (I need to adjust my heavier right-hand touch.)
Might this extra zing-y overtone just need a little more neck relief to alleviate it?
Any other ideas?
Thanks.
Warm and slinky goodness. Not really my thing, but they are great strings if that's your pref. In fact, I don't think there's anything else on the market that directly competes with that set.
John Pearse nickels are in the same ballpark, I like their 45-100s on my old Fenders, very nice strings as well.
FWIW I often use a set of 50-110 DR Hi Beams on rock gigs where we tune down a semitone... puts the tension around the same area as the 45-100 Sunbeams and sounds great on a P bass (or a Sadowsky P/J for that matter...)
I have seen instances where the string was tapping a fret once at the attack and creating a harmonic. I had a guy bring his bass in many years ago when I was working in a shop. His bass was going this, but only when he played it. I couldn't ever get it to it. It was just a very odd combination of his action and attack angle.
If something like that is going on, a touch of relief and/or bumping the saddle up a touch would probably do the trick. I would take the easier route of the saddle first. If that works, adjust the truss only if needed.
All right--away from pickups and back to strings and setup! Finally.
Seriously, what would cause an open E string to ring with an extra "zing" overtone to it? It's not a "buzz" but more of a "zing"...if that makes sense. The best comparison I can come up with are the opening ringing notes before the drums kick in of Michael Jackson's "Beat It". Not that pronounced, but to a lesser degree.
Might this extra zing-y overtone just need a little more neck relief to alleviate it?
Any other ideas?
Thanks.
Is this just extra zinginess, or an out-of-tune-sounding harmonic? I get those out-of-tune harmonics on many taper-wound strings. I'm currently trying the Circle K strings, which sound great except the B and E (.136 and .100) are tapered at the bridge, and they have a nasty sour harmonic. Something to think about if your string is tapered at the bridge.
Also, that same sound can happen if your pickup is too close to the string, which could happen if the action was lowered a lot.
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