I've never met a low B string I liked.

[Chasarms]

. . . I tend to prefer taperwound B strings, but non-tapered can sound good too.

It's probably been mentioned, but intonation is especially critical on the low B. With a good bass that's been properly intonated, you can play low B string even above the 12th fret.

It is my experience that these two go hand in hand. I very much prefer a tapered B. While I do think it rings more truly, it is mostly to support the second statement.

In my experience, it is much easier to accurate intonation with a tapered B string.

 

[steve_rolfeca]

After experiencing problems with the B string on my first fiver, I assumed that I needed better strings. When that didn't help, I decided that I really needed a better bass. Since I couldn't find/afford one that met all the conditions on my wish list, I built my own. It was better, but still no joy.

So I finally pulled out the test gear (I'm an electronics technician by trade), and got busy. I was astonished to discover how many amps, cabs and pedals had a sharp LF rolloff up around 40, 50 or even 60 Hz.

Things are much better 16 years later, but there are still all sorts of amps and cabs that don't have the low end extension you need for a really great response from the B string.

If the OP isn't using an Acme or something similar, I would suggest checking his signal chain first. It only takes one component with a poor LF response, even a tuner pedal, to turn an otherwise great bass into poo at the extreme low end.

 

[knuckle_head]

It may be a combination of string design along with scale length. Even with 34" scale, I find that the low-E tends to be darker sounding than the other strings. Actually, with parallel frets, the norm appears to be that, as the fundamental pitch decreases, each lower string tends to have less upper-harmonic content than the previous string. Using the piano-like technique of making the speaking length longer as pitch goes down mitigates this issue. And, FWIW, I don't think that variable speaking length is a trivial solution. Rather, I'd suggest that it addresses the problem fairly directly.

As for the suggestion of different strings, on my Rapture 5 I've found that the tapered low-B in the Pedulla 5-string set sounds more harmonically alive and more like the low-E than non-tapered sets I've tried.

A thicker string will inherently have fewer upper harmonics by virtue of its size, but....

I think you may find that if you up the tension on E and B strings that the harmonic content increases. If you can match tension on your E and B to what you are accustomed to for A or match your set's tension to what you are comfortable with at E you will get more consistent tonal/harmonic content and total volume/output from the entire set of strings.

Another factor here is that there are a number of manufacturers that go to a 4 wrap string at .130 or .135 - some as thin as .125. This will kill off upper harmonics far faster than anything. Most E strings are a three wrap string - mine are two wrap strings - if you are consistent in construction along with tension on your E and B strings you are much more likely to get consistent response between the two.

There are indeed more advantages to multiscales than ergonomics, but the things attributed to them are misunderstood methinks. Every string has a unique timbre. Even if you don't change the pitch at a given gauge but you alter the tension you also alter the timbre. You accomplish the same thing by selecting a thinner or thicker gauge on a standard scaled instrument.

Many ways to skin this cat - most don't realize the cat needs skinning.

 

[DavePlaysBass]

DR DDT 125 or Labella Hard Rockin Steel 128 will clear that right up for ya. I feel exactly the same way about the majority of B strings on the majority of basses. Those two strings are the ones I count on.

+1/2. Never played the DDTs.

But the Labella variants are heads and shoulders above everything else I have tried. You say you like light gauge steels, then you should do the Hard Rockin Steel M42B (40-100-128T) or go with the Carvin steels. Pedulla, Carvins, and Labella with a tapered 128 or 130 B have spoiled me to the point I cannot really play anything else on my Sadowsk RV5. Its a curse, because there are many strings that I really like but the B is so in distinct I have to change the way I play songs. And then why have a 5 string.

Edit to add I have had pretty good results with a TI 136B. And on a Modulus Q5 a D'Addario Nickel XL 130 is like thunder. But its a Q5.

 

[AREA]

I play Sadowsky Blue Label Steel Roundwounds on my two Laklands and I love the Tone, Feel, and Durability. No other Strings for me....

 

[mat b]

Maybe it's time you played a Roscoe.

 

[kraigo]

If the OP isn't using an Acme or something similar, I would suggest checking his signal chain first. It only takes one component with a poor LF response, even a tuner pedal, to turn an otherwise great bass into poo at the extreme low end.

I agree with the gist of your post. In my case (the OP), I've got a Genz Benz NeoX 212T. It hasn't got Acme lows, but it's pretty solid down low.

KO

 

[ixlramp]

The closer a string comes to being full gauge from nut to saddle, the more harmonically it will vibrate. It's essential to have the taper as close as possible to the bridge saddle. However since ball-end to saddle distances vary manufacturers play safe by using a long taper.

Any more than very roughly 1 inch of taperwound section in the vibrating length ruins the tone, and increasingly as you play up the neck (because the tapered section becomes a larger fraction of the vibrating length).

Circle K tapered strings have an excellent design. Only 1.625 / 1&5/8 inches from string-edge of ball-end to start of taper. For comparison, D'Addarios are 2 inches. See the Link Removed.

With Circle K's top-loaded there will be roughly 1/2 inch of tapered section in the vibrating length. Circle K's are also super-flexible, which is the other essential property for good tone, this also allows thicker and therefore tighter strings to be used, reducing flop.

Also the thinner the tapered section, the more inharmonicity, which is why exposed-core is affected by this problem more than a taperwound with 1 layer of wrap wire. I remember Yves Carbonne saying that any more than 1 centimetre of exposed core creates significant inharmonicity.

 

[greenboy]

Also the thinner the tapered section, the more inharmonicity, which is why exposed-core is affected by this problem more than a taperwound with 1 layer of wrap wire. I remember Yves Carbonne saying that any more than 1 centimetre of exposed core creates significant inharmonicity.

Actually he might have said it, but I know I said it, many times on the old ExtendedRangeBassist forum.

 

[Big B.]

Maybe it's time you played a Roscoe.

I second that motion.

 

[kraigo]

I come in looking for string suggestions and you recommend a solution that would cost me several thousand dollars. Sorry guys, epic fail.

On a more positive note, I have gotten a good deal of good advice on string selections that people endorse for my problem and I am truly appreciative.

KO

 

[austentaciousC]

I use a 35" scale Cirrus and have found it to be an incredibly articulate instrument.

Steel DR Lo-Riders are my favorite string on this bass- it's a tight sounding bass on its own, these are a little stiffer and heavier gauge than most with excellent lifespan.

Here is are two tracks (prog metal) in the B range where bass tones sound pretty clear-

http://soundcloud.com/dr_thunda/left-brain-solipsism-02-i-kali-ii-emanations

http://soundcloud.com/dr_thunda/left-brain-solipsism-11-delirium-tremens

If you are using a big bass heavy EQ (which would probably sound nice and full on a 4 string for playing E-tuned songs), your B string will always sound muddy and increasingly flabby as you move up the neck. To have aggressive B clarity, I cut my lowest frequencies a good bit and focus on low mids instead.

Great music man

 

[mccartneyman]

I've had a 55-01 and currently have a 55-94. Any B string has sounded fine, but some sound better than others. My personal preference for rounds -- Lakland Nickel. I also like the DR coated strings, but the overall balance and tone isn't as good as the Lakland Nickels. For flats, Sadowsky, TI or Chromes, in that order. I've tried just about every brand of string on the Laklands and these are what I keep coming back to. Hate the B on Elixirs and Ernie Balls.
Addendum:

TI flats will go through the body if you buy the extra long set. Sadowskys and Chromes go through bridge, but I couldn't get the Chromes B trough the bridge so went through body on the B with no adverse effects.

 

[kraigo]

FWIW, if you like Chromes you should try Lakland's Joe Osborns. They're a little "harder". I've used both and give the nod to the Osborns. A bonus for them is that the length before the taper (headstock end) is about 1.5" longer so it worked on my Artcore semi-hollow. The Chromes had the silks going past the nut into the speaking area of the string.

I figured the extra friction between the nut and peg was going to kill those strings and have me playing Morphine all night at some point. All in all, it's good to be back with the Osborns.

KO

 

[Big B.]

I come in looking for string suggestions and you recommend a solution that would cost me several thousand dollars. Sorry guys, epic fail.

On a more positive note, I have gotten a good deal of good advice on string selections that people endorse for my problem and I am truly appreciative.

I spent years trying to find a B string that would make me happy. I tried any brand I could and could never find one that blends well with the other strings. Once I finally broke down and bought my Roscoe I stopped having that problem. Now I can use any string I want and they sound great across the range of the bass. So yes, for me it took a couple of grand to solve the problem. I hope you can find an answer that works for you.

 

[kraigo]

Thanks Big B. I understand where you're coming from, but the 55-01 suits me well* and has a much better than average B - I've owned a fair number of nice fives. I'm not going to claim it's the best ever, but it's really, really nice. I truly think it's going to come down to string selection for the bass.

Just to verify my impressions, I ordered a set of Lakland branded stainless steel rounds in .040, .060, .080, .100 and .128. That's quite a leap in overall diameter for the B string, but consistent with what many in this thread were advocating. I recollection of the Lakland branded strings is that they were the best I'd tried. What's on the bass currently is a set of SIT strings that don't have a tapered B.

KO

*Aesthetically, I want a bass to look vaguely Fenderesque, not to look like a boutique bass. I'd rather be on stage with a Sadowsky than an MTD for example. Performance is only part of the equation. I'm the only one who will really notice the performance. Far more people will notice the look of the instrument (if they notice the bassist at all) than will have any opinion at all of the sound of the instrument. Less than one person in 100 will notice that it's a five string or even know that a bass typically has four.

 

[AwkwardLoudness]

I use a set Circle K strings w/ gauges .150 .112 .084 .061 for BEAD tuning on my 34" scale bass. I like that nickel/stainless steel hybrid sound and balanced tension.

A lot of factors affect that low B: Bridge saddle, nut saddle, bridge break angle, neck tension, pickups, amp, EQ settings, cab, speakers.

 

[rockstarbassist]

Too bad. I've played/owned many 5'ers that had awesome low B's. However, the Lakland 55-02 I had was not one of them.

I play with a custom double-drop set of Circle K's on my Spector NS5 and I keep pitch even up to the 12+ fret on the low B (or low A as I have it tuned).

 

[ixlramp]

I ordered a set of Lakland branded stainless steel rounds in .040, .060, .080, .100 and .128. That's quite a leap in overall diameter for the B string, but consistent with what many in this thread were advocating.

Funny how we get used to under-tensioned B strings and see .100 to .128 as a big jump. In fact, to have a B string of equal tension to a .100 E it needs to be .135!

The rough rule for equal tension is to multiply the gauge by 4/3 for a fourth interval and 3/2 for a fifth.

 

[kraigo]

FWIW, I used my (Noguera) five string fretless today on a gig and was just loving the B string on it. Joe Osborn stainless steel flats. I've got a set that I took off the Skyline previously.

I got a bad B in the Lakland stainless rounds that I ordered. Lakland has another B on the mail for me. No charge (kudos to Lakland).

KO