GHS Progressives, why aren't these more popular?

[Polka1]

Yeah, if you like the Boomers, I would give them a try. They seem to me to be in many ways a bright/more lively set of Boomers. The lower end characteristics are somewhat similar - round and large sounding. Plus they seem like they might last a good bit longer.

I'll have to put the Infeld's on my list to try.

 

[michael_t]

Yeah, if you like the Boomers, I would give them a try. They seem to me to be in many ways a bright/more lively set of Boomers. The lower end characteristics are somewhat similar - round and large sounding. Plus they seem like they might last a good bit longer.

This is exactly what I'm hoping the Progressives will do for my Yamaha - liven it up a bit without losing any of the meaty low-mid of the Boomers/Pressurewounds.

 

[michael_t]

Guess what came in the mail today...

My review will have to wait, though, as I won't be installing them till mid-Aug.

One thing I can tell you is I LOVE the burgundy silk!

 

[michael_t]

Here's some info I wanted to share with those who are detail-conscious like I am.

There is a specific reason why I decided to order the light 4-string set (L8000, 40-60-80-100) and a single 130 low B instead of just getting the light 5-string set (5L8000, 40-60-80-101-126).

According to the GHS specs, all five strings in 5L8000, including the 101E and the 126B, are 38" in winding length (ball end to silk), while the 100E in L8000 and the 130B are both 36.5" in winding length, which will fit better on my Yamaha.

Again, this may not be an important consideration for some of you, but I thought I would mention it in case you're the type who does care about such details.

 

[joebar]

So, are you saying the Progressives in their broken-in stage were duller and deader than the Pressurewounds in their broken-in stage?

By the way, what bass did you try them on?

Yes that's correct. I used them on a Yamaha BB1025X.

 

[michael_t]

After looking around, Progressives seemed like a good bet. Apparently brighter than the Boomers, something I wanted for the J. And also taper wound on the E, potentially waking up the E a bit?...

...Bright, but not harsh. Powerful, in a way I could describe as like a sibling to Boomers. Great output. And maybe it's just a placebo, but it certainly seems like the taper on the E help. The E sounds especially good to my ears compared to other sets E, which more often than not is a bit less lively.

As of yesterday, my Yamaha TRBX505 is dressed in burgundy, looking classy and elegant.

GHS Progressives, L8000 (40-60-80-100) + 130B:​

Exposed cores on B and E:

​

I've been on a tone quest for this bass for the last 15 mths, and this is the first time trying anything with an exposed core, which is the one feature that kept me from trying the Progressives in the past as I was never sure about the real benefit of tapered/exposed core strings. After having done some reading on the tapered/exposed core low B strings, both pros and cons, I figured the only way to know for sure is to go ahead and try them for myself firsthand.

One thing I've been struggling with as a relatively new 5-string player is the idea that it's not easy to find a low B string that matches well with the rest in terms of tonal balance; the low B seems to have a different tonal character as it doesn't have the same clarity and definition as the other four.

As it is turning out, the exposed core is just what the doctor ordered for this particular bass. The low B all of a sudden seems to open right up as the notes on it ring out more clearly with better definition and sustain. Even the open B note is rock steady and usable. Didn't quite expect this degree of improvement. And I can tell you with certainty it's no placebo effect.

One of the things I read more often regarding tapered/exposed core low B's than anything else is the intonation issues. So, I was a little concerned about how the exposed part extends beyond the saddle by half an inch. You know what, no issues whatsoever!

Based on my initial impressions, I have a feeling I may finally have found the right match for my Yamaha. So far, so good...

 

[michael_t]

I like GHS Progressives very much, but agree they seem kind of obscure. I hope they do not get discontinued!

Once I get to try them in the next few months, I'll make sure to talk about it often enough.

Based on my positive initial encounter with the Progressives (see above post), the chances are I will be talking about them a lot more often going forward as my second favorite, only next to my beloved Pressurewounds. The strings this good shouldn't be a "best-kept secret".

 

[Linnin]

As it is turning out, the exposed core is just what the doctor ordered for this particular bass. The low B all of a sudden seems to open right up as the notes on it ring out more clearly with better definition and sustain. Even the open B note is rock steady and usable. Didn't quite expect this degree of improvement. And I can tell you with certainty it's no placebo effect.

Based on my positive initial encounter with the Progressives (see above post), the chances are I will be talking about them a lot more often going forward as my second favorite, only next to my beloved Pressurewounds. The strings this good shouldn't be a "best-kept secret".

So Balanced Pressurewounds with exposed cores. I'd buy a set!

 

[michael_t]

Balanced Pressurewounds with exposed cores...

...on a round core?

 

[Linnin]

...on a round core?

I don't see why not, but I like hex cores too. Whichever sounds best and allows for even tension; volume, tone, and feel. We're not asking for too much. Are we?

 

[michael_t]

Whichever sounds best and allows for even tension; volume, tone, and feel. We're not asking for too much. Are we?

 

[GIBrat51]

Why? Probably because
- that exposed core makes some old farts like me nervous ("Hey! This string is defective!!"), and
- some basses have bridges that don't like that kind of thing, and - for us lazy types - they take more trouble than they're (probably) worth to get them to work.
And, for somebody like me, who likes the longevity of flats (among their other attributes), the reports of their (alledgedly) very short life, are just the icing on the Not For Me cake. I do have a set of them (and, for the life of me, I don't know how - or why); I won't use them, but maybe, someday, someone I know will need them desperately...

 

[trothwell]

And, for somebody like me, who likes the longevity of flats (among their other attributes), the reports of their (alledgedly) very short life, are just the icing on the Not For Me cake.

GHS Progressives surely wouldn't last as long as [at least most] flatwound strings, and no pressure to try them if they don't sound like your kind of thing, but where was it alleged that they have a very short life?

 

[Aidil]

- that exposed core makes some old farts like me nervous ("Hey! This string is defective!!")

Coincidentally... just a couple of weeks ago a friend of mine, who has never used an exposed core or a tapered string, commented on my bass having exposed core B-E-A-D strings (obviously not the Progressives), that he was afraid the string would snap (on the exposed core).

Hhmmm... never thought of this before...

 

[GIBrat51]

I bought a set a few years ago- they met all my criteria on paper. My only complaint was that they would die faster than any other string and not in a good way; I watched the. Go from new and bright to dull on one gig. GHS took care of it and sent me a new set right away but the new set did the same thing. The pressurewounds are great strings in that they only die to a point and the. They stay there forever and never stop sounding great- especially in the fundamental

Here. And, I'd say that dying in the space of one gig is a pretty short life. But, maybe joebar is just one of those unlucky people who are death on strings, regardless of what they do...

GHS Progressives surely wouldn't last as long as [at least most] flatwound strings, and no pressure to try them if they don't sound like your kind of thing, but where was it alleged that they have a very short life?

To be fair, others here have said they last quite a while - for them. And, also to be fair, I have pretty good luck making rounds last, myself. But, I have to keep strings on 24 basses, as well as 7 guitars, a mandolin, and a banjo. So, the longer I can keep a set of strings on something, the better. I pretty much have to put new strings on the mandolin and the banjo every time they come of of their case, anyway - and re-stringing/tuning them is no fun at all... I have 3 basses that wear rounds (2 with Boomers, and one with DR Sunbeams), and that's enough...

 

[michael_t]

Coincidentally... just a couple of weeks ago a friend of mine, who has never used an exposed core or a tapered string, commented on my bass having exposed core B-E-A-D strings (obviously not the Progressives), that he was afraid the string would snap (on the exposed core).

Only if you're an ultra-aggressive pick player who bangs on the strings close to the bridge...

If it ever happens to me, which is not very likely, I will be sure to let you know.

 

[michael_t]

where was it alleged that they have a very short life?

The voice of a minority... The idea that a set of strings that "last forever" for someone can "die too fast" for another is nothing new. It's all about one's perspective and expectations.

One thing I can tell you right now is the Progressives are NOT for zingy brightness. I can see why zing lovers may find them "too dull".

I'll report back on their longevity according to what I personally consider to be their useful life.

 

[Jon Moody]

Why? Probably because
- that exposed core makes some old farts like me nervous ("Hey! This string is defective!!")

Haha "old farts." Exposed core strings were probably designed by folks that are considered "old farts" now. It's not a new development, although still uncommon (since you've gotta wind the string backwards).

If I had a dollar for every time I assured a customer that the E string in the 4st Progressive sets wasn't defective or a manufacturing flaw...

Oddly enough, no questions about the B string. It seems that tapered/exposed core B strings are much more accepted, as a lot of builders use it.

- some basses have bridges that don't like that kind of thing, and - for us lazy types - they take more trouble than they're (probably) worth to get them to work.

I haven't heard that issue as much, but yeah, an exposed core string (or, strings) take a bit more time to set up. You can't just swap the strings out and do minor tweaking.

Coincidentally... just a couple of weeks ago a friend of mine, who has never used an exposed core or a tapered string, commented on my bass having exposed core B-E-A-D strings (obviously not the Progressives), that he was afraid the string would snap (on the exposed core).

It's probably the illusion of fragility, because the core is exposed. However, having covers over the core doesn't necessarily offer any protection; the core is still the main thing under tension.

 

[michael_t]

I haven't heard that issue as much, but yeah, an exposed core string (or, strings) take a bit more time to set up. You can't just swap the strings out and do minor tweaking.

Going from the Bassics (44-63-80-102-130) to the Progressives (40-60-80-100-130), I was expecting to do a fair amount of setup work. Much to my surprise, the only thing I need to do was to raise the saddles on B and E to compensate for the exposed core and that was basically it. 48 hours after the installation, no further tweaks needed. No truss rod adjustment, and even the intonation is bang on.

Now a set of Progressives on my bass and a pair of progressives for my eyes, I'm a happy camper.

 

[Polka1]

Only if you're an ultra-aggressive pick player who bangs on the strings close to the bridge...

If it ever happens to me, which is not very likely, I will be sure to let you know.

As someone who plays at the bridge aggressively with a pick, it's no issue. Further, I am not sure why it would be - the core is what is preventing a break and it seems normal. If anything the windings on a big string could potentially create a stress point at the bridge as the string makes the bend.