Omigosh, to properly play that second one, you have to have gargantuan hands with tiny little finger tips.
Good luck with your 5er, Bryan!
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Learned to play 5 string, wound up hating it
- Thread starter dbd1963
- Start date
Omigosh, to properly play that second one, you have to have gargantuan hands with tiny little finger tips.
Good luck with your 5er, Bryan!
Try taking the simple 1,5,1 stuff up and over to the E&B string. That thump of the fatter B string works for some songs IMHO.
Judging by all the trouble ya'll have finding a playable five string, and the few I've played, I don't think I'm wrong in just not liking them in general. Four strings seems like the way it is supposed to be to me. Five feels awkward. It's an odd number. That doesn't make sense. This whole fifth string thing is a passing fad...
Bingo. A longer scale length and the right stings can make all the difference in the world.
I've been playing Fender Jazz Basses most of my life but I just could not get comfortable with a five string Jazz. So I went out shopping for a 5 string one day and after trying several including a Warwick that did nothing for me either. So I asked the shop keep what he played.
I went home a Modulus strung with DR hex cores and it was the nicest sounding and playing bass I've ever owned. That extra inch of scale length and a string with better tension made all the difference in the world. I won't play anything but a long scale five string from now on.
I've only played up to a 7 string. Even with small hands, I'm fine with it. I've been playing 6 string bass since about '07.
Yup, i was working on that last night-extending walking patterns downward onto the B string. Should be a fun gig tonite, I can really mess with the rest of the guys in the band.
My issue with my G&L L2500 is that anything below the low D is "too low". In my last two cover bands, anytime I go below the D it doesnt sound right, even if the original song was played on a 5er. Its weird. Anyone else experience this? Between that and the weight of the L2500, Im thinking about just getting a detuner for my 4's instead.
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Plus, I run the B through body on my USA Millennium. Cirrus and Lakland 55 series basses also have a nice low B. I just prefer the neck on my Mill.
I have found that wrapping the B string 3 to 4 times around the tuning post increases the break angle at the nut. That really helps the sound and feel. Strings that are more flexible intonate better because less compensation is needed at the bridge saddle.
I agree with some of you who have said that you like a more even sound string to string.
I get this by moving my right hand slightly to play different strings.
The G-string, and sometimes D, is played closer to the neck.
The B is played closer to the bridge and with a lighter touch.
I have a 35 and I prefer my 34. And the 34 is a Squier Affinity no less.
I get this by moving my right hand slightly to play different strings.
The G-string, and sometimes D, is played closer to the neck.
The B is played closer to the bridge and with a lighter touch.
I have a 35 and I prefer my 34. And the 34 is a Squier Affinity no less.
This is a good point too, but I would argue that it's more of a concern at the bridge. Make sure you don't have a gradual curve at the bridge.
I think this is part of the reason why many people like a tapered B.
- Jun 3, 2009
- 3,330
- 399
- Disclosures
- Bassgearu, Music Industry Consulting and Sales. Tech 21, NBE Corp, Sonosphere.
When you start talking about "cleaning up my technique", then well, you lose me. My technique is perfect for punk and old school rock! 
I just have never really found a great use for the low B string. I find most guys with fives shift their playing position up to around the F/F# on the B and play everything using fingerings past the 5th fret. In that case, just use a 4 IMHO.
After 35 years of playing, I just prefer 4. My head doesn't have to think much about where I'm playing or what I'm playing. If I really need synth low notes, I just break out the octave pedal.
Entwhistle got sounds out of 4 strings I'm still trying to copy, and so did Jaco, Joe, Carol, James etc.
That being said, I'm sure you will catch me using one of my 5s at a gig here and there.
I just have never really found a great use for the low B string. I find most guys with fives shift their playing position up to around the F/F# on the B and play everything using fingerings past the 5th fret. In that case, just use a 4 IMHO.
After 35 years of playing, I just prefer 4. My head doesn't have to think much about where I'm playing or what I'm playing. If I really need synth low notes, I just break out the octave pedal.
Entwhistle got sounds out of 4 strings I'm still trying to copy, and so did Jaco, Joe, Carol, James etc.
That being said, I'm sure you will catch me using one of my 5s at a gig here and there.
- Jun 3, 2009
- 3,330
- 399
- Disclosures
- Bassgearu, Music Industry Consulting and Sales. Tech 21, NBE Corp, Sonosphere.
Oh, and what I've found is that the SIT 5 string set with two tapers (B and E string) work best for giving you a great, non-flappy B AND good balanced tone string to string.
Depends what is "that great" to you. To me its just great for that price but not the best. It would unfair to compare this bass to something like a sadowsky or an mtd, that would be pretty foolish. Im not a music man guy, and I don't think warwick is the end-all in low B dept.
I'd say exposed round core on a 36' scale instrument.
Seriously though; Set up, type of string and the specific string too(sometimes you get a less than perfect one in a set), as well as the instrument, all have an impact.
There's a lot of good information in here -- as far as strings, I'm using DR Lo Riders. But I never checked to see if there was anything going on with how it sits on the saddle or any of that.
I think the open B sounds OK, and the D is usable, along with everything else below the E. It's going up the neck that puts me off. I'll bet not a lot of listeners would even notice the difference, but I'm not getting the tone I want out of it. I can see that there are ways to address this.
I just got a new Fender Jazz Modern Player and I really love the way that sounds, so it may now be an issue of the Warwick being the lonely neglected child. I have really enjoyed the Warwick sound, and the feel of the neck is supreme, but the Fender sound is just that much better for what I'm doing.
Having gone back to a 4 string, I have found that I'm not missing the 5th while I play, which I was afraid might happen. Guess it's like riding a bike!
I think the open B sounds OK, and the D is usable, along with everything else below the E. It's going up the neck that puts me off. I'll bet not a lot of listeners would even notice the difference, but I'm not getting the tone I want out of it. I can see that there are ways to address this.
I just got a new Fender Jazz Modern Player and I really love the way that sounds, so it may now be an issue of the Warwick being the lonely neglected child. I have really enjoyed the Warwick sound, and the feel of the neck is supreme, but the Fender sound is just that much better for what I'm doing.
Having gone back to a 4 string, I have found that I'm not missing the 5th while I play, which I was afraid might happen. Guess it's like riding a bike!
