Agreed. I had a set of LaBella flats that the EADG were perfect for my 5-string jazz, but the B was tapered at the bridge and never had enough oomph to it. I changed to a set of R. Cocco stainless steels and BOOM! I know, I know -- two different worlds, but yes, R.Cocco makes some fine strings.
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How can a B-string s*ck?
- Thread starter kombi
- Start date
Agreed. I had a set of LaBella flats that the EADG were perfect for my 5-string jazz, but the B was tapered at the bridge and never had enough oomph to it. I changed to a set of R. Cocco stainless steels and BOOM! I know, I know -- two different worlds, but yes, R.Cocco makes some fine strings.
My Lakland had a great B string. It came with Lakland strings on it, and that's all I've ever used with it. The tapered B strings sounds great.
What I've noticed is that you can't be as aggressive with a B string as you can with the others. You can't just whack it or it won't sound right. You have to play it softer to allow for a big fundamental.
I've found that I like the tone of playing the string softer and letting the amp do the work. Turn up the volume, but play softer and you actually get a bigger, more powerful sound. The only downside is it forces you to clean up your fretting and muting as even the slightest contact with the string or a string ringing out a bit is heard.
What I've noticed is that you can't be as aggressive with a B string as you can with the others. You can't just whack it or it won't sound right. You have to play it softer to allow for a big fundamental.
I've found that I like the tone of playing the string softer and letting the amp do the work. Turn up the volume, but play softer and you actually get a bigger, more powerful sound. The only downside is it forces you to clean up your fretting and muting as even the slightest contact with the string or a string ringing out a bit is heard.
This comes up from time to time. To adequately discuss this, we must first dismiss the absolutists.
Some guys think there's no such thing as a good low B. These folks are either idealists who expect the low B to have all of the characteristics of the low E string and/or they simply haven't played a well made 5+ string bass. To some extent, I think there are a number of players who simply hit the string so hard that not much will sound good without very heavy strings.
Some guys think all low Bs sound good. I use this example a lot, but I once heard a guy using a 30" Epi tuned to B with a .105. While he thought it sounded good, I don't think musicians with a good ear would agree.
TB will argue all day that it's mostly strings and setup. Both of these help, I suppose. I will assert that some basses are simply built better to handle the task. With many companies, their 5+ string basses are simply a bass with more tuners and wider necks and pickups. Some basses are just built better and don't require special strings. Play some and find out.
I'll disclose that at first I was against the low B because I hadn't local bands or basses at the time. I now have a nice arsenal of basses with great low B strings.
Some guys think there's no such thing as a good low B. These folks are either idealists who expect the low B to have all of the characteristics of the low E string and/or they simply haven't played a well made 5+ string bass. To some extent, I think there are a number of players who simply hit the string so hard that not much will sound good without very heavy strings.
Some guys think all low Bs sound good. I use this example a lot, but I once heard a guy using a 30" Epi tuned to B with a .105. While he thought it sounded good, I don't think musicians with a good ear would agree.
TB will argue all day that it's mostly strings and setup. Both of these help, I suppose. I will assert that some basses are simply built better to handle the task. With many companies, their 5+ string basses are simply a bass with more tuners and wider necks and pickups. Some basses are just built better and don't require special strings. Play some and find out.
I'll disclose that at first I was against the low B because I hadn't local bands or basses at the time. I now have a nice arsenal of basses with great low B strings.
The most common factor in B strings that suck is the person holding the bass IME. Maybe it's just a coincidence.
I use .120 and .125 B strings. I understand how to set up a bass for the way I play. I can slap on my B strings with excellent results. I rarely if ever come across a B string that sucks to the point that I can't remedy it with a little bit of my time and at most a string change. I never use exposed core strings and only string through the body if forced to by design.
If you actually take the time to learn how to play your instrument and learn how your instrument works, many "problems" like floppy B strings can almost magically disappear. But you'll know magic had nothing to do with it... because you were there the whole time.
I use .120 and .125 B strings. I understand how to set up a bass for the way I play. I can slap on my B strings with excellent results. I rarely if ever come across a B string that sucks to the point that I can't remedy it with a little bit of my time and at most a string change. I never use exposed core strings and only string through the body if forced to by design.
If you actually take the time to learn how to play your instrument and learn how your instrument works, many "problems" like floppy B strings can almost magically disappear. But you'll know magic had nothing to do with it... because you were there the whole time.
Except when you notice that some basses with a B that sounds better or worse with the same hands.
I'm talking about B's that genuinely suck IMO. Better or worse is a very relative grading. If you have a B that performs phenominally IYO and another that is great but not as good as the former, it could be deemed "worse" even though it's by no means anywhere near being negative.
I'm saying that the vast majority of B strings that I've come across that people have described as floppy/sucking/etc. didn't when I played them. Largely because I also figured out a long time ago not to try to play any bass as my ideal of an ideal bass. That makes about as much sense as setting the EQ on a new amp like you did on a previous different amp and expecting identical results.
Instead I play the bass I have in my hands, meaning I gear how I play towards that specific instrument. I figure out what I can get away with technique and I'm home free from there.
It's the same old thing that I learned decades ago: if something that you contend sucks sounds great in someone else's hands, did it really suck?
Here's the situation: Sax player in my first real band, in high school. Parents bought him several Selmer tenor saxes, all of which he was positive had problems. That's why he had the tone he had and difficulty playing his parts. At a rehearsal he told the same thing to a new sax player who was added to our band who had more time under his belt. The new guy asked to check his current Selmer out, played it and it sounded GREAT.
We looked around and the consensus was "Well... guess it wasn't the sax".
I've yet to see an actual B string performance issue that couldn't be remedied by setup ( be that string height, pickup height, neck relief, etc.), strings or touch. I don't consider bad fretwork to be a B string issue... that can affect any string.
As far as EQing to help a B string, you can do that or you can do what many still haven't figured out: turn up your amp and watch how you set your volume on your bass... it matters. If you start out without boosting your bass or treble you can get a similar effect and even have your mids along for the ride if you simply turn your amp up. But that's not a B string specific remedy either IME.
These are just things I've figured out over the years and demoed to people countless times IRL.
I've seen this eliminate "flop" so often it's ridiculous. And "soft" is relative. Once you've dialed your touch in, many are surprised at how hard they can strike a string once they've learned how to control it.
By-products are more even tone, more usable tones, better, more even sustain, fuller sound, less fatigue and more. Control is a good thing.
it took me 10 years but i'm finally learning this. all this time i thought my basses just couldn't be set-up the way i want. finally i realized that i had too much relief on my necks and was playing too hard. jason newsted is one of my heroes and he is a very aggresive pick player. so ive always played hard and got buzz. so in turn i raised my action, but it made it too difficult to play certain things. watching some videos and reading an interview of david ellefson, another hero of mine, i realized that if i play lighter, i can have lower action without buzz. i also bought a thinner pick. my technique still isnt perfect, but certainly improving. these are some things i wish i would've known back when i started.
I got lucky and figured this out on my own years ago. If only I had something like these resources way back when... then again my aunt would be my uncle.
