I think I've decided I'm more of a 4-string guy...

[FlatwoundFunk]

I think that's because those instruments have been around much longer than electric bass and have already gone through the upgrades. Most woodwind players play more than one woodwind instrument (tenor, alto, soprano sax, clarinet, flute), as do brass players. That's more or less the equivalent of extended range basses.

Interestingly enough, I remember when I played baritone sax in Jr H.S. for a short time, the teacher said that if you "mastered" the baritone, you could also "play" the alto because it's the same fingering. Also, if you "mastered" the tenor, you could "play" the soprano. But he did emphasize that one should be "mastered" before just "playing" the other. It took me many years before I understood the difference between "mastering" and "playing".
FF

 

[chungweishan]

Interestingly enough, I remember when I played baritone sax in Jr H.S. for a short time, the teacher said that if you "mastered" the baritone, you could also "play" the alto because it's the same fingering. Also, if you "mastered" the tenor, you could "play" the soprano. But he did emphasize that one should be "mastered" before just "playing" the other. It took me many years before I understood the difference between "mastering" and "playing".
FF

I think one way to apply "woodwinds" (especially saxophones) to this topic is this:
All saxes have the same fingering. The major sound, besides tone, difference is what key it's in (Baritone and Alto in Eb, Tenor and Soprano in Bb). The lowest sounding pitch of a Tenor is concert Ab, and the lowest for Baritone is Db. There's a technique difference in terms of changing your embouchure (how you blow into the mouthpiece).

For sake of this topic, think of the Tenor as a E-string and Baritone as the B-string. A Baritone can play the same notes as the Tenor, and go lower, but will sound different in tonal characteristics. It's heavier. It takes more air to play. So a Tenor Sax player might think, "Why would I ever switch to Baritone? I don't need those low notes, more expensive, and it's too heavy to lug around." However, there is music that takes advantage of the Baritones low notes and tone. Just as there is music that takes advantage of the low-B string's range and tone.

Obviously, the same applies with the other saxes too. "Why should I play Soprano when I already play Alto or Tenor? I don't need to hit those high notes, I think the tone is goofy (I really do), and it looks like a metal clarinet."

And then there's the rare brave saxophonist that's willing to play Bass, Contrabass, or Subcontrabass Saxophone. That's getting into the territory of basses with F# and lower strings.
---

The point is regardless of your personal biases based on scientific reasoning, anecdotes, or past experiences of what basses you prefer playing, it is a tool for music you want to play. If the 4-string suits you just fine with tone and comfort, and you learned that anymore strings would be useless to you: That's fine. Others have the need for extended ranges (up or down) for the music they play, they hopefully learned the techniques and have the appropriate gear to make sure it sounds good. That's all that matters.

Growing as a musician can encompass lots of things: technique in your preferred instrument, knowing what gear works for you and the music, understanding how to apply those techniques in the styles you play. For this topic, the OP and others learned that 4-strings work for them and they will continue to grow as musicians using those instruments. Me? I've made the decision to play multiple instruments with different numbers of strings, so I've grown accustomed to using different techniques to do so. It doesn't make me a better or worse musician, just one that has a wider range of instruments to choose.

And just in case, I used to play Clarinet, moved to Baritone sax, then to Tenor, and ended with Bass Clarinet during my woodwind days. Unfortunately now, if I ever tried it again - I would sound awful. Very awful. I would sound like a guy who knows the fretboard on bass, but couldn't pluck a string or plug it into an amp. Thankfully, no one asks for my woodwind services anymore.

 

[Mr.Ace]

I think one way to apply "woodwinds" (especially saxophones) to this topic is this:
All saxes have the same fingering. The major sound, besides tone, difference is what key it's in (Baritone and Alto in Eb, Tenor and Soprano in Bb). The lowest sounding pitch of a Tenor is concert Ab, and the lowest for Baritone is Db. There's a technique difference in terms of changing your embouchure (how you blow into the mouthpiece).

For sake of this topic, think of the Tenor as a E-string and Baritone as the B-string. A Baritone can play the same notes as the Tenor, and go lower, but will sound different in tonal characteristics. It's heavier. It takes more air to play. So a Tenor Sax player might think, "Why would I ever switch to Baritone? I don't need those low notes, more expensive, and it's too heavy to lug around." However, there is music that takes advantage of the Baritones low notes and tone. Just as there is music that takes advantage of the low-B string's range and tone.

Obviously, the same applies with the other saxes too. "Why should I play Soprano when I already play Alto or Tenor? I don't need to hit those high notes, I think the tone is goofy (I really do), and it looks like a metal clarinet."

And then there's the rare brave saxophonist that's willing to play Bass, Contrabass, or Subcontrabass Saxophone. That's getting into the territory of basses with F# and lower strings.
---

The point is regardless of your personal biases based on scientific reasoning, anecdotes, or past experiences of what basses you prefer playing, it is a tool for music you want to play. If the 4-string suits you just fine with tone and comfort, and you learned that anymore strings would be useless to you: That's fine. Others have the need for extended ranges (up or down) for the music they play, they hopefully learned the techniques and have the appropriate gear to make sure it sounds good. That's all that matters.

Growing as a musician can encompass lots of things: technique in your preferred instrument, knowing what gear works for you and the music, understanding how to apply those techniques in the styles you play. For this topic, the OP and others learned that 4-strings work for them and they will continue to grow as musicians using those instruments. Me? I've made the decision to play multiple instruments with different numbers of strings, so I've grown accustomed to using different techniques to do so. It doesn't make me a better or worse musician, just one that has a wider range of instruments to choose.

And just in case, I used to play Clarinet, moved to Baritone sax, then to Tenor, and ended with Bass Clarinet during my woodwind days. Unfortunately now, if I ever tried it again - I would sound awful. Very awful. I would sound like a guy who knows the fretboard on bass, but couldn't pluck a string or plug it into an amp. Thankfully, no one asks for my woodwind services anymore.

Exceptionally Well stated. I also view my Instruments as tools to be applied to a specific trade. Super awesome tools! but tools nonetheless. I grew up loving and playing blues, jazz and funk. Now I find myself playing in 3 country bands, playing mainly new country. I hear a lot of 5 string work in the bass lines. So, I bought a five string. Years ago I was really into bebop and started studying and playing jazz, so I bought a German upright acoustic bass. I don't consider myself a master of anything except for baiting, I do consider myself a journeyman. I don't feel that having the right tools for a specific job is unnecessary or gimmicky.

 

[godofthunder59]

I have something like 50 basses all four bangers. If I want that rare sub octave I stomp on my Micro Pog.

 

[Mr.Ace]

I have something like 50 basses all four bangers. If I want that rare sub octave I stomp on my Micro Pog.

Holy cow!

 

[JimiLL]

Slither IS very difficult to execute correctly on the 5. But, not impossible. The thing is: why fight it?

I play slither constantly on a standard tune 5. Is it harder? You bet. Why play it like that? You become a better player

 

[DwaynieAD]

I play slither constantly on a standard tune 5. Is it harder? You bet. Why play it like that? You become a better player

it being harder does not make you a better player at all.

that being said I play slither on my 5 string as well, but I'd rather not.

 

[JimiLL]

That's a subjective opinion. Forcing your body and mind to deal with things that are uncomfortable will make you more risilient. Which in my opinion, will make you better at it

 

[descendent22]

That's a subjective opinion. Forcing your body and mind to deal with things that are uncomfortable will make you more risilient. Which in my opinion, will make you better at it

You make a strong point. I agree with you 100 % and it will make you better but! You can't be uncomfortable forever. I hate playing an instrument that is errata ting and uncomfortable. As long as it's temporary and not permanent I support your point

 

[JimiLL]

Well it is tough, but I have gotten a lot better at it

 

[bucephylus]

I play slither constantly on a standard tune 5. Is it harder? You bet. Why play it like that? You become a better player

Each to their own. If you get satisfaction out of doing it the hard way, that's fine. Like I stated, it isn't impossible; and it is certainly a challenge. But, I would challenge you back that you really ought to have a tonal reason for choosing either approach; assuming you are playing for the listener. Playing a more difficult approach purely because it is more difficult is a valid choice for the player.

But, there is also the approach of understanding the elements of how a tune was initially played and using those elements in your performance. Happens all the time with the upright. In a similar vein, it is preferable on upright to work out fingerings that do not use open strings for many orchestral pieces. This gives the player much more consistent tonal temperament while playing the part, the open strings having a different sound to them. But, when playing Baroque tunes, the characteristic tonality of the open strings is part of how the tune was conceived and therefore not only a valid approach, but in fact the appropriate approach.

It's a choice that you make. Are you playing the part as an etude, or are you playing to entertain?

When I first covered Slither, I was pretty much only playing 5's. My attitude was I could play anything on a 5 that the 4 string player could play. And, I was not going to be bothered with detuning. So, I worked out a fingering for Slither on the 5 and gigged it that way. Then, after a while, for no particular reason, I decided to detune the E string and see how the fingering would be different. Pretty much like turning the lights on in the room. I decided then to stop being so parochial and do what is best to serve the tune.

These days, I purposely go back and forth between detuned and regular tunings while practicing, more or less to keep my mind sharp. For me, I suppose that it is a poor man's form of speaking different languages. For gigs, I try to choose the approach that sounds the best. But, that's me.

 

[Rib 13]

I dunno, 5-strings are cool and all, but at the end of the day they are kinda pointless for most music.

"Most music?"

I would say that it depends highly on the genre(s) that you play, and - most important - your particular role in the act that your playing with and the requirements expected of you

 

[JimiLL]

Each to their own. If you get satisfaction out of doing it the hard way, that's fine. Like I stated, it isn't impossible; and it is certainly a challenge. But, I would challenge you back that you really ought to have a tonal reason for choosing either approach; assuming you are playing for the listener. Playing a more difficult approach purely because it is more difficult is a valid choice for the player.

But, there is also the approach of understanding the elements of how a tune was initially played and using those elements in your performance. Happens all the time with the upright. In a similar vein, it is preferable on upright to work out fingerings that do not use open strings for many orchestral pieces. This gives the player much more consistent tonal temperament while playing the part, the open strings having a different sound to them. But, when playing Baroque tunes, the characteristic tonality of the open strings is part of how the tune was conceived and therefore not only a valid approach, but in fact the appropriate approach.

It's a choice that you make. Are you playing the part as an etude, or are you playing to entertain?

When I first covered Slither, I was pretty much only playing 5's. My attitude was I could play anything on a 5 that the 4 string player could play. And, I was not going to be bothered with detuning. So, I worked out a fingering for Slither on the 5 and gigged it that way. Then, after a while, for no particular reason, I decided to detune the E string and see how the fingering would be different. Pretty much like turning the lights on in the room. I decided then to stop being so parochial and do what is best to serve the tune.

These days, I purposely go back and forth between detuned and regular tunings while practicing, more or less to keep my mind sharp. For me, I suppose that it is a poor man's form of speaking different languages. For gigs, I try to choose the approach that sounds the best. But, that's me.

I
Interesting observation. I guess it is really for selfish reasons. But by that token, are we all not guilty of a selfish role when we play our instruments? Even if your main love is to entertain, You Are Still preforming For The Gratitude of yourself.

But I know what you mean. Something to think about

 

[bucephylus]

I
Interesting observation. I guess it is really for selfish reasons. But by that token, are we all not guilty of a selfish role when we play our instruments? Even if your main love is to entertain, You Are Still preforming For The Gratitude of yourself.

But I know what you mean. Something to think about

No, I actually meant that it is perfectly OK to play a part a particular way to see if you can do it. Like Marcus Miller playing Donna Lee with his thumb. It is cool to do. OTOH, there are also other ways to think about the parts. No right or wrong.

 

[4stringfarley]

Nothing a 5 string provides that I can't make up for in octaves.

 

[Garret Graves]

Nothing a 5 string provides that I can't make up for in octaves.

Yes, an octave higher, because you ran out of range. iInother words, there ISsomething a 5 string offers that your 4 doesn't, eh? You can also drop tune your 4. I'm Just pulling your chain man- love my 4's and 6's. My 6 has more octaves than your 4- you like Octaves so much- lookit all my octaves!!!!

 

[Rib 13]

Nothing a 5 string provides that I can't make up for in octaves.

There have been a few incidents in my life (involving reading charts) where i was able to keep my hand in a single position on the neck and hit all the required notes in a passage with comfort and ease on a 5ver that would have been a pain-in-the-ass to do on a 4banger

For the record: I play both 4 and 5 and try my best to choose the right tool for the job

 

[4stringfarley]

Yes, an octave higher, because you ran out of range. iInother words, there ISsomething a 5 string offers that your 4 doesn't, eh? You can also drop tune your 4. I'm Just pulling your chain man- love my 4's and 6's. My 6 has more octaves than your 4- you like Octaves so much- lookit all my octaves!!!!

Something about the low end going high when the high end goes low. And vice Versa.

 

[Mr.Ace]

"Most music?"

I would say that it depends highly on the genre(s) that you play, and - most important - your particular role in the act that your playing with and the requirements expected of you

I love my 4 string bass's. I play my 5 when I play new country. Just fits right in there, and more importantly, chicks dig it.

 

[4stringfarley]

Yes, an octave higher, because you ran out of range. iInother words, there ISsomething a 5 string offers that your 4 doesn't, eh? You can also drop tune your 4. I'm Just pulling your chain man- love my 4's and 6's. My 6 has more octaves than your 4- you like Octaves so much- lookit all my octaves!!!!

More often than not I only need the top 2 and sometimes 3 strings to do what is needed.