D'Addario EXL170 vs 160 vs 165.

[OldSchoolFlats]

I have a 4-string Yamaha with 24 frets, and thin 5-piece neck: TRBX304.

It came with D'Addario EXL170 / 0.045-0.100, but I found them too light for my taste. I put on some slightly higher DR Sunbeams, but A) they still feel too light and B) I get more buzz when I dig-in, both seemingly due to the round core.

I adjusted my truss-rod enough to make the buzz manageable, but want to switch back to the hex-core D'Addario EXLs (165 or 160), thinking I can get a heavier feel under the fingers and less buzz.

Question: Should the larger 0.050-0.105 D'Addario EXL160 mean any nut filing? I currently have 45/65/85/105 Sunbeams, and the EXL160s are 50/70/85/105. I see there is also a EXL165 set 45/65/85/105. I don't have nut-files, but THINK the EXL160 set is what I want.

I come from a flatwound world where "bridge-cables" rule, but A) I don't want nut-slot issues and B) I primarily use this bass to learn slap. Right now, I am still at about 80 BPM simple slap/pluck riffs, with no ghost notes, palm-slaps, hammers, or double thumbing/plucking. I think lighter strings are generally favored for slap - which I can see for double-thumbing and double-plucking - but the 45/65 G/D feels so thin after years of "bridge-cables".

This bass is really only for slap. My main bass is the Sire 5-string in my avatar picture. Don't know what strings they are (they came with the bass), but feel like hex-core, and look like 50-105 (not including the B string).

 

[michael_t]

Question: Should the larger 0.050-0.105 D'Addario EXL160 mean any nut filing? I currently have 45/65/85/105 Sunbeams, and the EXL160s are 50/70/85/105. I see there is also a EXL165 set 45/65/85/105. I don't have nut-files, but THINK the EXL160 set is what I want.

DR Sunbeams 45-105 are one of the loosest-feeling strings I've ever tried in those specific gauges, thanks to the round core. D'A EXL165 are the same gauges, but quite a bit stiffer than the SBs due to the hex core. I would suggest you try the 165 first before trying the 160.

You can also try the DR Nickel Lo-Riders 45-105 (hex core) as a stiffer alternative to the Sunbeams. I once tried the SB 45-105 and the NLR 40-100 back-to-back on my Fender Jazz and liked the firmer feel of the NLR despite the smaller gauges.

 

[OldSchoolFlats]

DR Sunbeams 45-105 are one of the loosest-feeling strings I've ever tried in those specific gauges, thanks to the round core. D'A EXL165 are the same gauges, but quite a bit stiffer than the SBs due to the hex core. I would suggest you try the 165 first before trying the 160.

You can also try the DR Nickel Lo-Riders 45-105 (hex core) as a stiffer alternative to the Sunbeams. I once tried the SB 45-105 and the NLR 40-100 back-to-back on my Fender Jazz and liked the firmer feel of the NLR despite the smaller gauges.

Glad as always to see you still here!

I was torn, but since you indicate the EXL165s are a good bit stiffer than the Sunbeams, I think I will try those. I would like to get more into double-plucking (and maybe thumbing) - a few beginner Marcus Miller tricks on the higher strings/notes - so was leery of the EXL160s on my "beginner slap bass".

 

[michael_t]

It came with D'Addario EXL170 / 0.045-0.100, but I found them too light for my taste.

What I didn't like about the EXL170 was how uneven they felt with a tight D (.065) and a loose E (.100). EXL170BT (45-60-80-107) solved that problem for me.

 

[Dan_reeves]

If you are looking for slap tones, 165 is probably better than 160. Mostly because the higher strings will be a little bit easier to pop.

 

[OldSchoolFlats]

If you are looking for slap tones, 165 is probably better than 160. Mostly because the higher strings will be a little bit easier to pop.

That's what I was thinking (and now bought).

Just can't get used to idea of not having "bridge cables".

 

[matante]

Most players who are into slap/pop prefer stainless rounds, and most prefer lighter gauges. Rotosound Funkmasters are 30-90 because they're catering to the slapper crowd. If you're learning a new technique try using the strings associated with that technique.

 

[SunByrne]

What I didn't like about the EXL170 was how uneven they felt with a tight D (.065) and a loose E (.100). EXL170BT (45-60-80-107) solved that problem for me.

Yep, once you go balanced tension, it's hard to go back. For rounds I also play the EXL170BT. As noted, for slap, the OP might want lighter strings, so perhaps the EXL220BT (40-55-75-95) would be the better choice. I'm going to try those with a .130 B string on my 5er next time I change strings on it. (Not that I slap much, but to maintain balanced tension with the EXL170BT the correct weight for the B string is .145 which is a friggin' cable, not a string.)

I cannot for the life of me figure out why most string sets are the same increase in thickness from string to string. That results in uneven tension across the set—why would you want that?

A lot of GHS sets are balanced tension (or close to it) as well, though they don't advertise them that way. On some of my basses I prefer Pressurewounds to rounds, and the GHS medium set is 44-62-84-106, which isn't quite as balanced as the D'Addario BT sets, but isn't bad.

 

[Dan_reeves]

Forgot to ask, what kind of slap tunes are you going to play?

 

[Ryan in PDX]

I have a 4-string Yamaha with 24 frets, and thin 5-piece neck: TRBX304.

It came with D'Addario EXL170 / 0.045-0.100, but I found them too light for my taste. I put on some slightly higher DR Sunbeams, but A) they still feel too light and B) I get more buzz when I dig-in, both seemingly due to the round core.

I adjusted my truss-rod enough to make the buzz manageable, but want to switch back to the hex-core D'Addario EXLs (165 or 160), thinking I can get a heavier feel under the fingers and less buzz.

Question: Should the larger 0.050-0.105 D'Addario EXL160 mean any nut filing? I currently have 45/65/85/105 Sunbeams, and the EXL160s are 50/70/85/105. I see there is also a EXL165 set 45/65/85/105. I don't have nut-files, but THINK the EXL160 set is what I want.

I come from a flatwound world where "bridge-cables" rule, but A) I don't want nut-slot issues and B) I primarily use this bass to learn slap. Right now, I am still at about 80 BPM simple slap/pluck riffs, with no ghost notes, palm-slaps, hammers, or double thumbing/plucking. I think lighter strings are generally favored for slap - which I can see for double-thumbing and double-plucking - but the 45/65 G/D feels so thin after years of "bridge-cables".

This bass is really only for slap. My main bass is the Sire 5-string in my avatar picture. Don't know what strings they are (they came with the bass), but feel like hex-core, and look like 50-105 (not including the B string).

I used to slap EXL165s on my Marcus Miller jazz bass. No issues for me. Lighter gauges might get you a little more bounce, and heavier gauges might be a little stiff - all of this depending on what technique and sound you're going for. Despite the name on my bass's headstock, I've never tried to sound or play like Marcus. The slap guys I tend to rip off are Freddie Washington and Stuart Zender, and I've been able to cop those styles (if not the tones) just fine with Chromes for the last several years.

D'Addarios are pretty cheap to experiment with, so maybe buy a couple of sets and swap out one string at a time until you have a set you like. I would say play what's comfortable first and foremost.

You didn't ask for slapping lessons, but I'll power through. My instructor had me work through the book "Slap It!" unplugged. The exercises where you hammer on and then immediately slap or pop the same note took a while, but really changed the whole game for me.

 

[OldSchoolFlats]

Forgot to ask, what kind of slap tunes are you going to play?

At this point, I skimmed through the slap instructions from Scott's Bass Lessons (Phil Mann), and am going more methodically through TalkingBass's 2-volume set. I was completely "slap impaired" until a few months ago, and even now am only up to basic 8th note groves in TalkingBass instructional material: 80-100 BPM. Starting volume 2, but taking a break to internalize the basic/common 16th note 1-2 beat sequences. Working on my 1e+a thing before really digging-in to volume 2. With the old R&R bass covers I grew-up with, the bass-lines didn't often get past eight-notes.

While I started playing in '73, I only played for fun: garage/party bands in my teens, and church folk a couple of segments in my life.

I stopped playing recently for 10 years, so at this point I am just working on basic grooves in various instructional materials. My target for now is just to groove with a drum-machine, metronome or Band-in-a-Box. Later, once I get back up to speed, I would hope to find some people to "jam" with: simple covers and improvisational bass/drum jams, which is where slap would be useful. If the whole pandemic thing "chills"...

Mostly, I am an aging IT guy with limited "musical memory", so for covers, I would really need a music stand and transcribed bass-parts in standard notation which I am starting to collect. I started with clarinet and sax, and always had written parts (never did jazz charts though).

Really, the only commercial slap I like is Marcus Miller, and simpler 70s grooves with the occasional slap or pop. Complex jazz-style work from Victor Wooten or Stanley Clark sounds like it is just dissonant and wandering to me with all those complex chords and jazz rhythms.

 

[OldSchoolFlats]

I used to slap EXL165s on my Marcus Miller jazz bass. No issues for me. Lighter gauges might get you a little more bounce, and heavier gauges might be a little stiff - all of this depending on what technique and sound you're going for. Despite the name on my bass's headstock, I've never tried to sound or play like Marcus. The slap guys I tend to rip off are Freddie Washington and Stuart Zender, and I've been able to cop those styles (if not the tones) just fine with Chromes for the last several years.

D'Addarios are pretty cheap to experiment with, so maybe buy a couple of sets and swap out one string at a time until you have a set you like. I would say play what's comfortable first and foremost.

You didn't ask for slapping lessons, but I'll power through. My instructor had me work through the book "Slap It!" unplugged. The exercises where you hammer on and then immediately slap or pop the same note took a while, but really changed the whole game for me.

Added to my wish-list on Amazon: https://www.amazon.com/Slap-It-Funk...UITARE-BASSE/dp/1598060066/ref=cm_wl_huc_item

Also noting the Chromes. I have never been one to try lots of different strings, but the Chromes do seem tempting...
...not a fan of the "piano sound" of rounds.

 

[Dan_reeves]

At this point, I skimmed through the slap instructions from Scott's Bass Lessons (Phil Mann), and am going more methodically through TalkingBass's 2-volume set. I was completely "slap impaired" until a few months ago, and even now am only up to basic 8th note groves in TalkingBass instructional material: 80-100 BPM. Starting volume 2, but taking a break to internalize the basic/common 16th note 1-2 beat sequences. Working on my 1e+a thing before really digging-in to volume 2. With the old R&R bass covers I grew-up with, the bass-lines didn't often get past eight-notes.

While I started playing in '73, I only played for fun: garage/party bands in my teens, and church folk a couple of segments in my life.

I stopped playing recently for 10 years, so at this point I am just working on basic grooves in various instructional materials. My target for now is just to groove with a drum-machine, metronome or Band-in-a-Box. Later, once I get back up to speed, I would hope to find some people to "jam" with: simple covers and improvisational bass/drum jams, which is where slap would be useful. If the whole pandemic thing "chills"...

Mostly, I am an aging IT guy with limited "musical memory", so for covers, I would really need a music stand and transcribed bass-parts in standard notation which I am starting to collect. I started with clarinet and sax, and always had written parts (never did jazz charts though).

Really, the only commercial slap I like is Marcus Miller, and simpler 70s grooves with the occasional slap or pop. Complex jazz-style work from Victor Wooten or Stanley Clark sounds like it is just dissonant and wandering to me with all those complex chords and jazz rhythms.

Best of luck on your journey- sounds like a great plan!

 

[cxcxcx]

I maybe had to file a nut a little once to accept the D and G on a set of D'Addario nickel XL in the .50 - .105 gauge. This was a one time occurrence over the course of playing for many years and owning many basses.

 

[red_rhino]

DR Sunbeams 45-105 are one of the loosest-feeling strings I've ever tried in those specific gauges, thanks to the round core.

+1. I've never thought the Sunbeams were particularly suited for slap. I'm sure other people may like them though.

Just can't get used to idea of not having "bridge cables".

Just a thought, try a set of light gauge GHS Pressurewounds. A bit higher tension than other light gauge strings, but slap really really well and play more like a medium gauge string. It may also be an easier adjustment if you're coming from the world of flats.

You should also give yourself more time to adjust to light gauge strings. It does take time.

 

[RocknRay]

Yep, once you go balanced tension, it's hard to go back. For rounds I also play the EXL170BT. As noted, for slap, the OP might want lighter strings, so perhaps the EXL220BT (40-55-75-95) would be the better choice. I'm going to try those with a .130 B string on my 5er next time I change strings on it. (Not that I slap much, but to maintain balanced tension with the EXL170BT the correct weight for the B string is .145 which is a friggin' cable, not a string.)

I cannot for the life of me figure out why most string sets are the same increase in thickness from string to string. That results in uneven tension across the set—why would you want that?

A lot of GHS sets are balanced tension (or close to it) as well, though they don't advertise them that way. On some of my basses I prefer Pressurewounds to rounds, and the GHS medium set is 44-62-84-106, which isn't quite as balanced as the D'Addario BT sets, but isn't bad.

D'Addario many (20+)years ago said they avoided balanced tension, adjusting gauge for even tone and volume. IME this has merit. I find balanced sets have an overpowering E and weak D. I don't notice the tension difference.

 

[OldSchoolFlats]

FYI, I put on the EXL165s, and as-hoped, the fret-buzz is gone unless I REALLY dig-in. The DR Sunbeams were really too "slinky" for the way I play. The EXL165s, with hex cores, have the chunkier feel I wanted, too. Not like flats, but heavier than the EXL170s I originally had when the bass was new.

At first glance, it seems like the G and D are buzz-free at 6/64", but if really dig-in, the E and A buzz a bit at 7-8/64. Since the EXL has lighter G/D and heavier E/A, I am guessing this is to be expected.

Will look more into setup adjustments as the strings/neck settle, but I can already tell my problem was the Sunbeams.

Note: Since I am learning slap, and doing lots of exercises (arpeggios, scales, finger exercises) I play the bass a lot without an amp. I am "digging in" more than I would amplified, and hearing buzz I would miss if amplified.

 

[michael_t]

Note: Since I am learning slap, and doing lots of exercises (arpeggios, scales, finger exercises) I play the bass a lot without an amp. I am "digging in" more than I would amplified, and hearing buzz I would miss if amplified.

When I first took up the bass at age 52, I got into the (bad) habit of playing my bass unplugged for casual home practice sessions, which turned out to be not so good for developing proper technique as I was playing a lot harder than I needed to. Once I learned to practice with my amp and headphones, my overall technique improved.

 

[OldSchoolFlats]

When I first took up the bass at age 52, I got into the (bad) habit of playing my bass unplugged for casual home practice sessions, which turned out to be not so good for developing proper technique as I was playing a lot harder than I needed to. Once I learned to practice with my amp and headphones, my overall technique improved.

Good tip. Noted and recorded!