I don't think the type of string has anything to do with the sound on the recording having "balls" or not. Compression and overdrive more likely. I have rounds on my basses that I use for country, blues, rock, etc and get plenty of "balls". LOL
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Country Bassists and strings
- Thread starter stevecaronna
- Start date
I have the TH 500 and 2 GS112's so it is not that. the tone is just different and I am really thinking that it is flats vs rounds. I need to sit with 2 basses and switch back and forth I think to see if that is what I am after.[
What song is it? Maybe it was Anthony Jackson with his detuned Jazz? Or maybe keyboard bass?Kinda funny, i just joined a 60's pop band and one ******* song has a low C# in it - and I'm pretty sure the song was recorded a half step down from that and speeded up on the master as it has horns, is in B (nasty key for horns) and the live version is in Bb. Didn't know that 5 strings were recorded back then. I play that tune a half step up from the recording and use a pitch shifter for it
. Also that super fast riff in it can be only played easily if you are tuned C# F# B E (or that would be C F Bb Eb in the original? key of Bb) - so WTH did that studio guy do - capo up a 5 string
? LOL
REAL Country bass players use baling wire.
The toughest ones use barb wire.
What's with all these polls not having a carrots option?
I like half-rounds for country
Why not tune normally and get either a 5-string or a HipShot de-tuner?
Tried it. Had to set the action way too high.
There is also the middle road strings.
2 camps: ground aka 1/2 rounds
And pressure wounds
I really liked Smith Compressors on my Warwick
Shop at bassstringsonline.com in any case.
@SLaPiNFuNK is super responsive and helpful.
2 camps: ground aka 1/2 rounds
And pressure wounds
I really liked Smith Compressors on my Warwick
Shop at bassstringsonline.com in any case.
@SLaPiNFuNK is super responsive and helpful.
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If I were only playing traditional country, it would be a P Bass with flats but I play a Jazz V with rounds for versatility.
They are stiff, but don't "feel" damped like the equally stiff LaBellas. Rotos are springy out of the pack, and LaBellas are kind of floppy (not on the bass out of the pack in the hand)
I get more tactile feedback from the Rotos.
Stiff doesn't bother me (longtime DR Lowder 50-130) player.
I used to female lead country. Gretchen Wilson, Reba, etc... I used round with a D tuner. Regular tuning. Now for my Americana/folk I use half rounds and it sounds awesome!
Roundwounds
I gigged with a "popular SE USA Regional" modern country band between 2009-2012. The main premise here is "Modern": that roundwound bass sound really contributes to that, but the thing is theres a simple rule of thumb: "With roundwounds, you can dial out what you dont need, but you CAN'T dial in that rich harmonic structure if youre using flats or dead strings"
If you Swiss Army bass as I do, on the covers or originals that required "warmer tones", I used whatever technique/setting required ("faux fretless", "faux upright", soloing the mid-pickup in Series for P-Bass, etc) and dialed out highs. This worked for the few classic country songs we did, newer Little Big Town ballads, and the originals that required it, etc to give it that Classic Warmth...... but when it was time to Jason Aldean, Keith Urban, etc: both Pickups dimed, highs rolled back in (to taste) for that modern "string" sound....You'll be surprised just how much of a difference this sound makes in modern country live.....Always had compliments on my tone(s) and this was from Nationals and their crew at gigs like Suwanee River Jam, etc
I gigged with a "popular SE USA Regional" modern country band between 2009-2012. The main premise here is "Modern": that roundwound bass sound really contributes to that, but the thing is theres a simple rule of thumb: "With roundwounds, you can dial out what you dont need, but you CAN'T dial in that rich harmonic structure if youre using flats or dead strings"
If you Swiss Army bass as I do, on the covers or originals that required "warmer tones", I used whatever technique/setting required ("faux fretless", "faux upright", soloing the mid-pickup in Series for P-Bass, etc) and dialed out highs. This worked for the few classic country songs we did, newer Little Big Town ballads, and the originals that required it, etc to give it that Classic Warmth...... but when it was time to Jason Aldean, Keith Urban, etc: both Pickups dimed, highs rolled back in (to taste) for that modern "string" sound....You'll be surprised just how much of a difference this sound makes in modern country live.....Always had compliments on my tone(s) and this was from Nationals and their crew at gigs like Suwanee River Jam, etc
My goto is a Squier VMP5 (Dunlop super bright nickle)
Carvin B4 fret less (d'Addario tapes)
Backup: Cort A5 (Chrome , old ones at that)
Or Warwick Dolphin with GHS Big Cores.
Honerable mention:
Dan Armstrong plexiglass SS fret less Roto Tapes
Michael Kelly fret less with Fender Tapes.
I use both flats and rounds.
Easier to get a flat like sound out of Rounds (aged) than it us to get a roundwound grind and zing out of flats.
Pressure wounds are right in the middle.
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Round wounds for New Country.
5 string bass, a lot of tunes in C# on the B string.
Flats are too dull sounding for newer tunes IMHO.
5 string bass, a lot of tunes in C# on the B string.
Flats are too dull sounding for newer tunes IMHO.
I play country covers, both new and old. Ive used 5's and both rounds and flats. Whatever Ive used has sounded appropriate, the audience has loved our sound. I now use mostly 4's, and mostly flats, and the audience still dances away, loves it, and we keep getting bigger and better jobs. I suppose if I was a first call bassist in Nashville, I would bring a 5 with the strings du jour, so the mixing and editing could get it precisely how the producers want it. But hell, look at the diversity. The Band Perry using a pbass with DR hi-beams. Others using modern 5's. Many giant hitmakers using 4's of all types. Cmon, everything is out there, even at the professional level. At my level, hardly anyone would notice my gear but me, unless I forgot to wear pants.
Using a soft very narrow strip of foam under the strings right at the bridge attenuates just a bit of the "ping" from brand new rounds and adds a "thumpyness" to the attack.
Turning the tweeter down can also help reduce zing and fingernoise.
A lighter touch right hand technique also brings out more if the fundamental with rounds, and eliminates clack on flats
Turning the tweeter down can also help reduce zing and fingernoise.
A lighter touch right hand technique also brings out more if the fundamental with rounds, and eliminates clack on flats
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Thanks this is kind of what I was thinking but I was just getting an idea of what other people in my situation are doing. One day I may get a set of flats just to see what the buzz is all about.
Don't get me wrong I am always getting compliments on my sound, when I said it did not have the balls I may have used the wrong term because I only have my bass knob at 12:00 so I still can get plenty more bass out of my guitar. I think I was just hearing that difference in tone between the two types of strings and it made me wonder how it would be to get some flats and take them out for a spin.
or ... you could try a happy medium ...!??
i use GHS Compression Wounds ... for me , they're the best of both worlds ..
i still have a set of Ti flats stashed away ( my fav flats ) because they're soft and easy to play .. but they , and all flats , that will take a good bit of time to 'break in' ..!!
i use GHS Compression Wounds ... for me , they're the best of both worlds ..
i still have a set of Ti flats stashed away ( my fav flats ) because they're soft and easy to play .. but they , and all flats , that will take a good bit of time to 'break in' ..!!
