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Got the itch for a 5-er. What else should I consider?
- Thread starter Mark_70
- Start date
I had a 5-string for the longest time and just could not get into it (tuned BEADG). One day, I ordered new strings and changed the tuning to EADGC. For me, that made a huge difference; my muscle memory reference points are still the same as on a 4-string, plus I have a C string that allows me to play clearer chords and arpeggios. Now I play the 5'er pretty regularly. This may not be an issue for you, but it made a big difference for me.
Used used used. $2500 budget will more than buy you anything on your list on the used market...if you shop right you can easily buy two with that $2500
If you like the SR style bass, millions of them floating around.
If you like the SR style bass, millions of them floating around.
Is your current bass an EBMM Sterling model or is a StingRay made by Sterling (SBMM)? If you have the EBMM Sterling model, try to find a 5 string version: Sterling 5 | Basses | Ernie Ball Music Man
If you have a SBMM StingRay, then I would suggest a EBMM StingRay Special.
If you have a SBMM StingRay, then I would suggest a EBMM StingRay Special.
Hang around here long enough and you see the 'gee, think I'm gonna get a five-string, whaddya think?' threads . . . . and several months later the follow-up 'got that five, but I just don't think it's for me'.
Not saying that's the case here, but if I were to recommend anything, before I spent that $2500 on a completely strange-feeling instrument, I'd advise one of the Indonesian-built Stingray Fives, and preferably a used one in great shape, and here's why: You're already a Music Man guy, you 'speak that language' if you will, the Stingray Five is an absolute classic introduction to five-strings if not a long-term keeper, but moreover, if you decide this is not your cup of tea, you're talking far less money to undo the decision.
Those Indonesian Stingrays are excellent axes for the money, and would feel familiar, and generally don't feel like a 'step down' from their American counterparts. Older used ones were Korean production, IIRC.
The design team that expanded the four-string Sting Ray to a five-string version did a magnificent job, producing the first five-string that just worked and required no huge mindset shift from the player. Felt right, sounded right, and has been a steady seller for years. A lot of guys' 'first five-string' for good reasons.
Not saying that's the case here, but if I were to recommend anything, before I spent that $2500 on a completely strange-feeling instrument, I'd advise one of the Indonesian-built Stingray Fives, and preferably a used one in great shape, and here's why: You're already a Music Man guy, you 'speak that language' if you will, the Stingray Five is an absolute classic introduction to five-strings if not a long-term keeper, but moreover, if you decide this is not your cup of tea, you're talking far less money to undo the decision.
Those Indonesian Stingrays are excellent axes for the money, and would feel familiar, and generally don't feel like a 'step down' from their American counterparts. Older used ones were Korean production, IIRC.
The design team that expanded the four-string Sting Ray to a five-string version did a magnificent job, producing the first five-string that just worked and required no huge mindset shift from the player. Felt right, sounded right, and has been a steady seller for years. A lot of guys' 'first five-string' for good reasons.
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Some great advice right here. Find a used one for cheap and if you don't gel with it, just sell it and hopefully you can get back what you put into it.
Agree 100% with the proviso that whatever you get, you put all your 4s away for 6mo and play nothing but the 5 and take some lessons if you need to.
I was just recently in your shoes, ended up with a Yamaha BBP35. Very pleased so far.
And with that being said this:
is a very bold statement.
(FWIW a StingRay 5 was my first 5er)
And with that being said this:
is a very bold statement.
(FWIW a StingRay 5 was my first 5er)
5’s come in many neck widths, thicknesses, nut and bridge spacings, and lately, scale lengths. I’d suggest you play a few to understand your own preferences if you can. It’s not just a four plus one unless that’s what you want - it opens many new positions for fingering and a whole new playing style if you wish. I wouldn’t be afraid of a “mind-set shift” unless you already know you don’t want the opportunity. And yes, you’ll get past the “wrong string” thing but it takes time and effort - don’t be discouraged.
You may want to be ready for some trial and error buying and selling if you can’t easily try out options. Buy one and see!
You may want to be ready for some trial and error buying and selling if you can’t easily try out options. Buy one and see!
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thanks - good comments!
1 - yes, I understood the Kiloton and the L-2x00 are not exactly interchangeable due to pickup placement. Played a Kiloton 4-string and loved it.. I don't think I'd use the neck pup on an L-2500 all that much. May just need to take the plunge and go for a Kiloton 5..
2 - all my 4-strings are between 7 and 10 lbs. Would prefer something a bit lighter but not a deal-breaker. As I get older perhaps more of an issue.
3, 4 and 5 - this is why I've always shyed (sp?) away from 5-string. But I guess you're never too old to learn so wanted to give it a go.. The string confusion is a real thing. Even when I pick up a 5-er at GC it's hard to play a proper scale. I keep fretting a different string than I'm plucking.. Rookie mistakes. Surely gonna take some time getting used to it.
Regards
Mark
. .
I began playing fives in the late 80's, and often, it was a 'let's see if these things are gonna sell' mindset with the manufacturers. So for several years, most of them took an existing four-string neck and subdivided it for five-strings. My then-current Yamaha BB5000 was that way (basically a five-string BB3000), and my Peavey Dyna Bass Five. This was common as the manufacturers sort of felt their way along to learn what a five needed to be. I loved my 5000, but you could hardly stand a kitchen match between the strings down at the nut !
One of the first to do that was Ernie Ball. A Stingray platform was already a well-known commodity, and they could have easily done the same thing, but they spent serious design and production money to make a five with its' own neck and fingerboard with a reasonable width and neck profile, a re-worked headstock and bridge arrangement, and getting that pickup and tone network just right. The original version carried on for several years with a 3rd coil / hum-canceller buried in the body for quiet operation when in single-coil mode, a very trick feature.
I admire the job they did in how seamlessly they made a Stingray into an extended range bass, and how the design made it far simpler for guys to go to fives than when I did. Once you got over the 'gee, that's a B, NOT the E' newness, it just got out of the way and let you play.
Of course there were wonderful small builder fives by Alembic, Tobias, the impossibly tiny and wonderful Pedulla MVP's, and more, but these were not in wide circulation, and at price points not everyone could afford. Stingrays were easy to find, and while not cheap, comparable price-wise to the best basses by the big companies.
Fives and sixes have developed over time their own design language, but one of the first pages in that book belongs to Ernie Ball. To me, the Stingray Five is a landmark axe.
I was just recently in your shoes, ended up with a Yamaha BBP35. Very pleased so far.
And with that being said this:
is a very bold statement.
(FWIW a StingRay 5 was my first 5er)
I began playing fives in the late 80's, and often, it was a 'let's see if these things are gonna sell' mindset with the manufacturers. So for several years, most of them took an existing four-string neck and subdivided it for five-strings. My then-current Yamaha BB5000 was that way (basically a five-string BB3000), and my Peavey Dyna Bass Five. This was common as the manufacturers sort of felt their way along to learn what a five needed to be. I loved my 5000, but you could hardly stand a kitchen match between the strings down at the nut !
One of the first to do that was Ernie Ball. A Stingray platform was already a well-known commodity, and they could have easily done the same thing, but they spent serious design and production money to make a five with its' own neck and fingerboard with a reasonable width and neck profile, a re-worked headstock and bridge arrangement, and getting that pickup and tone network just right. The original version carried on for several years with a 3rd coil / hum-canceller buried in the body for quiet operation when in single-coil mode, a very trick feature.
I admire the job they did in how seamlessly they made a Stingray into an extended range bass, and how the design made it far simpler for guys to go to fives than when I did. Once you got over the 'gee, that's a B, NOT the E' newness, it just got out of the way and let you play.
Of course there were wonderful small builder fives by Alembic, Tobias, the impossibly tiny and wonderful Pedulla MVP's, and more, but these were not in wide circulation, and at price points not everyone could afford. Stingrays were easy to find, and while not cheap, comparable price-wise to the best basses by the big companies.
Fives and sixes have developed over time their own design language, but one of the first pages in that book belongs to Ernie Ball. To me, the Stingray Five is a landmark axe.
This pretty much says what I wanted to say. My mind just got confused with a low B but when I recently strung my 5 string E-C it just felt natural. I guess for me adding a bottom string messed with my brain but adding a top string was just fine.
Just something to consider. I am reading of many people trying and liking the high C instead of the low B.
If you are a fan of the Sterling 4 sound, the logical place to start might be with a Sterling 5? Or an SR5.
I started my 5 string journey with an SR5 but found a new level of tone and playability when I moved on to a Lakland 55-94.
Then again I'd also suggest checking out a Mike Lull bass. They are in another league.
I hate it when my neck is completely out of time!
(I'm sure you mean asymmetrical but...)
Dingwall ng or combustion.
i returned to 5 and love love love my ng2 5er. The neck frets and neck size is no big deal to me. The neck is so good and the fretboard edges feel baby bottom smooth and rounded. Swapping back to a 4 just feels tiny. My ng2 5 just fees more like a big 4 string neck. Smaller and nicer neck than my old deluxe jazz 5 imho.
plus the current models all have two carbon fibre reinforcing rods. Bling bling.
it was so manageable i am thinking of a 6 string Ding! And i dont have freak of nature sized hands.
not sure the weight, but the mine is the best balanced bass i have ever owned. So because of that it feels light… and i am not a big dude.
and if you dont like it… they are pretty easy to flip. Maybe get a 6… and flip it to me. Ideally i would like it in ferarri yellow.
But at the end of the day… no b has ever come close to the b on my dingwall. Not even close. Non competition. I had been shopping for a 5 for some time… never found the right one. It was game over as soon as i played the ng2 the first time.
Plus the ng2 in series… imho it is the “perfect tone” for the dingwall pickup options…. Including the ng3. Three look cooler… but the bridge and middle in series is just killer!
My theory… the dude who has played the same bass for 30 years may not like a dingwall. Those types often resist change… and a dingwall is change… but imho the design is miles ahead.
i returned to 5 and love love love my ng2 5er. The neck frets and neck size is no big deal to me. The neck is so good and the fretboard edges feel baby bottom smooth and rounded. Swapping back to a 4 just feels tiny. My ng2 5 just fees more like a big 4 string neck. Smaller and nicer neck than my old deluxe jazz 5 imho.
plus the current models all have two carbon fibre reinforcing rods. Bling bling.
it was so manageable i am thinking of a 6 string Ding! And i dont have freak of nature sized hands.
not sure the weight, but the mine is the best balanced bass i have ever owned. So because of that it feels light… and i am not a big dude.
and if you dont like it… they are pretty easy to flip. Maybe get a 6… and flip it to me. Ideally i would like it in ferarri yellow.
But at the end of the day… no b has ever come close to the b on my dingwall. Not even close. Non competition. I had been shopping for a 5 for some time… never found the right one. It was game over as soon as i played the ng2 the first time.
Plus the ng2 in series… imho it is the “perfect tone” for the dingwall pickup options…. Including the ng3. Three look cooler… but the bridge and middle in series is just killer!
My theory… the dude who has played the same bass for 30 years may not like a dingwall. Those types often resist change… and a dingwall is change… but imho the design is miles ahead.
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Agreed! If you love a particular four string that's unavailable as a five'er, you could get a second four string and tune it BEAD. I very rarely miss a high G and can't function without a low B.
My vote 100%
You want a 5er with a great neck and a big neck pickup. Lakland all day long.
