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I've tried lighter gauge strings, but it just didn't work for me. I need a higher tension feel from my strings for my plucking hand. And honestly, I didn't notice any difference in tone between lighter gauge strings and the gauge that I'm comfortable using.
Granted, the difference in gauge between the strings I prefer and the lighter gauge strings that I tried weren't markedly different.
When I started playing basses with a low B-string I used a .130 gauge, but for the past few years I've been using a .128 gauge. I honestly haven't noticed any difference in feel or in tone.
I even once went down to a .125 B-string when I tried Infeld Superalloys. Overall they had a different tone than I was used to, and it was a really great tone IMO. However they feel too low tension for my needs.
And in regards to hearing more of the note's fundamental, once I switched to GHS PWs I've noticed a lot more fundamental compared to when I used nickel plated roundwounds on the same bass.
Just my two cents.
Granted, the difference in gauge between the strings I prefer and the lighter gauge strings that I tried weren't markedly different.
When I started playing basses with a low B-string I used a .130 gauge, but for the past few years I've been using a .128 gauge. I honestly haven't noticed any difference in feel or in tone.
I even once went down to a .125 B-string when I tried Infeld Superalloys. Overall they had a different tone than I was used to, and it was a really great tone IMO. However they feel too low tension for my needs.
And in regards to hearing more of the note's fundamental, once I switched to GHS PWs I've noticed a lot more fundamental compared to when I used nickel plated roundwounds on the same bass.
Just my two cents.
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In post # 97 I meant to say EB series basses (including the EB-3) not EB-0, even though that is part of the group. Free's Andy Fraser and Jack Bruce used EB-3's. The overall argument still stands, though. Boatloads of mud and neck dive all in one tidy package. Yay!!! 
I still think they're cool. Prefer the original double cut Les Paul Junior style EB that preceded the SG style. Haven't had the chance to play the new version yet. Interested in that one.
I still think they're cool. Prefer the original double cut Les Paul Junior style EB that preceded the SG style. Haven't had the chance to play the new version yet. Interested in that one.
I would trade a bit of tone for playability every time. EQ is designed as a tool to be used for shaping your tone. Playability is what enables you to operate your instrument at your/its full potential. I'd rather be able to finish a gig without pain than worry about a tonal quest that is nearly impossible to achieve at high volume in a crowded room. Most patrons would be hard pressed to tell the difference in tone in a blindfold test, much less so after a night full of dancing and drinking. At some point you cross the line from musician to entertainer. By right you should strive to be both all the time, but when the show takes the front seat to the music you need to be able to consider your priorities: being able to play the music without undue physical strain (which also helps avoid mistakes), or tone.
