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Do You Prefer 4 String, 5 String, 6 String?
- Thread starter DiegeBerry123
- Start date
These threads rarely get into the most interesting aspect of the "how many strings are enough" question:
What sort of gigs is it for?
I spent the first 15 years of my career doing what we now know as casuals- pickup gigs out of the union book, subbing, theatre work, etc. Lots of covers, a fair amount of original music, folk, ethnic, jazz, prog rock, top 40, theatre music...
The most important thing for that work was to be ready for anything:
- any style
- any key
- any time signature
- any tempo
- any type of notation, or none at all
I was pretty successful, with nothing more than a decent amp, a P-bass and a couple of pedals.
But it was hard work, particularly when you had to cover stuff in odd key signatures, and try to keep the essence of a barely-remembered riff or an unfamiliar tune.
My job got a lot easier in the 16th year, when I got my first 5-string. All of a sudden I had some great new tools:
- Notes below the low E, that I could hit without having to detune or use a hipshot
- more ways to get out of a tight spot when soloing up in the dusty zone
- the ability to play wider intervals without sliding
- easier transposing into odd keys
I realize that none of this stuff is relevant if you only play familiar material, generally only play any given song in one key, play in a guitar band, or always stick to simple lines.
But for me, that first 5-string was a revelation, and in the last 30 years, I've never been without a 5'er in the house.
The last few years, I've been mostly playing material that could just as easily be played on a 4-string. Sure enough, just as I was starting to relax, I lucked into a couple of new and challenging situations, where the 5-string makes perfect sense again.
If you don't need it, you don't need it.
But some of us do.
What sort of gigs is it for?
I spent the first 15 years of my career doing what we now know as casuals- pickup gigs out of the union book, subbing, theatre work, etc. Lots of covers, a fair amount of original music, folk, ethnic, jazz, prog rock, top 40, theatre music...
The most important thing for that work was to be ready for anything:
- any style
- any key
- any time signature
- any tempo
- any type of notation, or none at all
I was pretty successful, with nothing more than a decent amp, a P-bass and a couple of pedals.
But it was hard work, particularly when you had to cover stuff in odd key signatures, and try to keep the essence of a barely-remembered riff or an unfamiliar tune.
My job got a lot easier in the 16th year, when I got my first 5-string. All of a sudden I had some great new tools:
- Notes below the low E, that I could hit without having to detune or use a hipshot
- more ways to get out of a tight spot when soloing up in the dusty zone
- the ability to play wider intervals without sliding
- easier transposing into odd keys
I realize that none of this stuff is relevant if you only play familiar material, generally only play any given song in one key, play in a guitar band, or always stick to simple lines.
But for me, that first 5-string was a revelation, and in the last 30 years, I've never been without a 5'er in the house.
The last few years, I've been mostly playing material that could just as easily be played on a 4-string. Sure enough, just as I was starting to relax, I lucked into a couple of new and challenging situations, where the 5-string makes perfect sense again.
If you don't need it, you don't need it.
But some of us do.
I played four-string bass guitars exclusively for a good 30 years or so. Just never could find a five-string with a "B" string I really liked. But more to the point, the music I was playing just never really seemed to call for anything more than four strings. 
That was then - this is now. Much more recently - like within the past two years - I've been acquiring five-string bass guitars. I think I've finally wrapped my mind around the different touch, tone & timbre of the "B" string. More importantly, in my playing I've actually felt the musical urge for an instrument with an additional low string, and an extra half-octave available on the bottom end. So I made the leap.
I intend to concentrate on my five-strings for the foreseeable future, or at least until I feel that I've mastered it. Then and only then might I begin to work in the occasional four-string.
FWIW, I've also dabbled with the idea of acquiring a six-string bass guitar in tenor tuning (EADGCF). But if/when that happens, the instrument will be used almost exclusively for developing solo material - NOT for playing in an ensemble environment.
MM
That was then - this is now. Much more recently - like within the past two years - I've been acquiring five-string bass guitars. I think I've finally wrapped my mind around the different touch, tone & timbre of the "B" string. More importantly, in my playing I've actually felt the musical urge for an instrument with an additional low string, and an extra half-octave available on the bottom end. So I made the leap.
I intend to concentrate on my five-strings for the foreseeable future, or at least until I feel that I've mastered it. Then and only then might I begin to work in the occasional four-string.
FWIW, I've also dabbled with the idea of acquiring a six-string bass guitar in tenor tuning (EADGCF). But if/when that happens, the instrument will be used almost exclusively for developing solo material - NOT for playing in an ensemble environment.
MM
5's only. Once I went to 5's I could never go back to 4's. I like 6's, but don't need one for what I do.
I'm a 6 guy. I've been playing for about 20 years. Most of the situations I've been in were trios so I loved having the extra high end to fill in space. Now I'm just used to it. Plus I joke about being lazy and having 2 octaves and a fourth in one position allows me to play more without shifting.
Stay Brown,
Rev J
Stay Brown,
Rev J
4. I have a 5 but I while I dug it at first, I very rarely used the low notes and grew to hate the extra neck width and string, so now I just bring it if requested. Hasn't been request but once in the last 5 years, though. Yay!
- Jan 21, 2012
- 665
- 2
- Disclosures
- endorsing artist hard luck king guitars and knuckle head strings
I prefer my 6er but love playing 5's and love my jazz 4's. But in my band I almost exclusively use my 6er.
4's exclusively. My fingers never cared for 5+ string spacing nor my small hands the neck. That being said, I have a few basses setup for certain tunings/styles. I have one tuned to standard, one at C standard (when I use to play more metal) and one piccolo (an octave and a 4th up).
4 fingers, 4 strings...works for me..tried 5's, have a spector5 right now, but just can't find any love for it...what's good enough for Geddy, Chris, Victor, and Stanley is good enough for me, lol
Started on a 4 string, played a 5er for about 10 years, and went back to a 4 string about 3 years ago. I'm starting to think i would like to feel comfortable on both and be able to play one or the other on a whim. But, having played a 4 on average 5 nights a week for the last 3 years, i am nervous because i am SOOO used to my 4. I just need to start taking my 5er to some low pressure gigs i suppose.
I prefer 5's. Would have a six if they made Rays in a 6. A 6 string Bongo or Soundgear might be my next.
I love more strings. I will probably have a 14 string Kkrappy custom built for guitar and bass at once.
4's are fun on simple songs because they're easy to thrash around on stage.
I love more strings. I will probably have a 14 string Kkrappy custom built for guitar and bass at once.
4's are fun on simple songs because they're easy to thrash around on stage.
My two main basses are a 4 and a 6. The 4 gets the most playtime, the 6 only gets used where a little more range suits the music well.
Roy Vogt
Supporting Member
- Sep 20, 2000
- 4,433
- 537
- Disclosures
- Endorsing Artist: Kiesel Basses, Ampeg Amplification, Hotone Ampero II effects
I went from 4 to 6 to 5 to 7 and pretty much play them interchangeably. I am tending to use 4s and 6s for teaching and the 5 string for General Business work and Country Sessions. For fretless bass it's 6s. I've been playing 4s since 1970, 6s since 1983, 5s since 1984 and 7s since 2000 so I've logged a lot of hours on all of them.
I prefer 6 string, but have had to switch to 5 string as my primary bass because of rheumatoid arthritis. The wider 6 string neck causes pain in my hands.
- Nov 8, 2010
- 1,391
- 9
- Disclosures
- Unofficial Endorser: Ibanez, D'Addario, Zoom
This is the same for me; couldn't really get into the 6's and haven't tried anything larger than that. I find my 5 comfy enough and very versatile for many styles(church songs in Eb, Nu-metal in D or B, etc.); if I know it will be all pretty standard stuff I really enjoy my 4 though. I like my 4 a lot more for slap/solo stuff.
After starting up on regularly tuned 4 string basses, having switched to 5ers, having full step downtuned'em, having tryed out some 6er...
Bass extender allows me to not looking back in regret at the B string, but nothing, this way, gives me a C string.
So my answer goes: I play 4 string downtuned (and with detuner as well) bass guitars but a 6 string bass is no way another guitar. If you're into vertical scales and progressions, and chords as well, that's your playground.
Cheers,
Wallace
Bass extender allows me to not looking back in regret at the B string, but nothing, this way, gives me a C string.
So my answer goes: I play 4 string downtuned (and with detuner as well) bass guitars but a 6 string bass is no way another guitar. If you're into vertical scales and progressions, and chords as well, that's your playground.
Cheers,
Wallace
6 strings for sure! 
Lots of possibility's!! And about that part that you think it's just ''a guitar'' : Don't let John Myung, John Patitucci, Steve Bailey, Tetsuo Sakurai, Jeroen Paul Thesseling, Bill Dickens, Les Claypool, Alain Caron, Anthony Jackson and several others find out 
Lots of possibility's!! And about that part that you think it's just ''a guitar'' : Don't let John Myung, John Patitucci, Steve Bailey, Tetsuo Sakurai, Jeroen Paul Thesseling, Bill Dickens, Les Claypool, Alain Caron, Anthony Jackson and several others find out 
