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Looking for a better B string
- Thread starter cdaniel
- Start date
My 2 cents...
125 B is the just right for tone and feel for me
and DR Hi Beams sound best to me for a 5 string set 45 to 105 and .125
Lots of money and experimentation to finally be happy
125 B is the just right for tone and feel for me
and DR Hi Beams sound best to me for a 5 string set 45 to 105 and .125
Lots of money and experimentation to finally be happy
Personally I’ve never had a problem with B strings on my 34” Warwicks. I think it really comes down to the break angle and the mass of the bridge. Realizing some bridges are limited, I really don’t care for taper wound B strings. Currently, I have a set of GHS Pressurewound on my main player and the B is incredibly taught. I’ve had good outcomes with most sets of DR .125 and higher.
I spent a year or more in search of the perfect B string. In the end it was the Thomasik-Infeld JF345 that won my comparison testing. They are 34 length 5 string set with strings from .043 - .136.... that's a fat B string and it sounds great with all everything I put them on.
- T.I. JF345 strings did the best (by far) of the six (yes 6) different strings that I tried
- G&L with the T.I. strings sound about the best (for a 34" scale) ... To me
- I tried 4 basses: Fender Ultra/G&L L2500 & M2500/EBMM Stingray Special
- Fender Ultra 5: "I" was unable to make this sound good no matter what strings I put on it" - I sold it
- Stingray Special 5: has a B string that sounds good no matter what. It didn't matter.... OEM strings, different strings and it still sounded good. And "no" I'm not a Stingray fanatic, I'm just stating facts. I believe this has something to do with the electronics and the characteristic Stingray sound. It makes the low B nice and clear. Whereas with others I often felt it was just a low freq rumble and I wasn't sure what note that was.
- T.I. JF345 strings did the best (by far) of the six (yes 6) different strings that I tried
- G&L with the T.I. strings sound about the best (for a 34" scale) ... To me
- I tried 4 basses: Fender Ultra/G&L L2500 & M2500/EBMM Stingray Special
- Fender Ultra 5: "I" was unable to make this sound good no matter what strings I put on it" - I sold it
- Stingray Special 5: has a B string that sounds good no matter what. It didn't matter.... OEM strings, different strings and it still sounded good. And "no" I'm not a Stingray fanatic, I'm just stating facts. I believe this has something to do with the electronics and the characteristic Stingray sound. It makes the low B nice and clear. Whereas with others I often felt it was just a low freq rumble and I wasn't sure what note that was.
- Aug 21, 2003
- 11,607
- 18,656
- Disclosures
- A-Designs Mike Lull GK Tsunami Cables GHS Strings RMI Basswitch Nordstrand Pickups Darkglass
I had this issue years ago when I was moving to 5s full time.
In my experience
35” is really the way to go and there are a few exceptions that I have found.
The ESP LTD AP-5 as mentioned early is really good for a 34” scale and I think that massive bridge.
G&L L-2500 (again the bridge, but that is me speculating).
Also I find pickup placement key. I absolutely I’m not a fan of 34” Jazz basses 5 strings. The neck pickup is going to pick up a lot of string vibration.
Something like the Musicman or the reverse PJ of the Charvel San Diamas with the coils closer for the bridge sounds tighter and work.
I still wouldn’t want to play down a half step on this basses, but I have 35s I can do that on. Lull and Schecter.
Don’t let that hard rock stigma of Schecter fool you. They make some killer basses. I have a handful of them.
In my experience
35” is really the way to go and there are a few exceptions that I have found.
The ESP LTD AP-5 as mentioned early is really good for a 34” scale and I think that massive bridge.
G&L L-2500 (again the bridge, but that is me speculating).
Also I find pickup placement key. I absolutely I’m not a fan of 34” Jazz basses 5 strings. The neck pickup is going to pick up a lot of string vibration.
Something like the Musicman or the reverse PJ of the Charvel San Diamas with the coils closer for the bridge sounds tighter and work.
I still wouldn’t want to play down a half step on this basses, but I have 35s I can do that on. Lull and Schecter.
Don’t let that hard rock stigma of Schecter fool you. They make some killer basses. I have a handful of them.
The accumulation of organic material (skin, oils, dirt) along the spaces on string windings has a surprisingly noticeable effect on the tone of roundwound strings.
B strings are susceptible in particular because the windings are larger than any of the other strings, creating more and easier places for skin gak to hide. For this reason a lot of players notice all their other strings sound fine but their B string sounds different, "dead," or "floppy".
Good news and bad news.
The bad news is that all roundwound B strings behave like this more or less. There's no brand of string that's immune; you could swap strings and initially be thrilled with the outcome, but soon after you play that bass a while the new B string will start to sound like your current one, more or less.
More bad news. If you're the kind of player who likes the sound of dead roundwounds, there's no getting away from this phenomenon. The dead rounds thing is sort of incompatible with 5 string basses if you are sensitive to this issue.
The good news. You can soak the strings (or just the B, I suppose) in denatured alcohol for a day or two, put them back on the bass, and they will have picked up most of the vibrational harmonic activity they lost when all the grease from your chicken tenders got on them. And you can do that as often as you want. I have ten year old roundwound sets I've been rotating onto basses the whole time.
BTW, the construction of flatwound strings sort of minimizes this effect, and the deal with "coated" strings is that they also prevent accumulation of dirt and gak along the windings to some extent. Those, however, do not respond well to solvents.
Good luck out there.
B strings are susceptible in particular because the windings are larger than any of the other strings, creating more and easier places for skin gak to hide. For this reason a lot of players notice all their other strings sound fine but their B string sounds different, "dead," or "floppy".
Good news and bad news.
The bad news is that all roundwound B strings behave like this more or less. There's no brand of string that's immune; you could swap strings and initially be thrilled with the outcome, but soon after you play that bass a while the new B string will start to sound like your current one, more or less.
More bad news. If you're the kind of player who likes the sound of dead roundwounds, there's no getting away from this phenomenon. The dead rounds thing is sort of incompatible with 5 string basses if you are sensitive to this issue.
The good news. You can soak the strings (or just the B, I suppose) in denatured alcohol for a day or two, put them back on the bass, and they will have picked up most of the vibrational harmonic activity they lost when all the grease from your chicken tenders got on them. And you can do that as often as you want. I have ten year old roundwound sets I've been rotating onto basses the whole time.
BTW, the construction of flatwound strings sort of minimizes this effect, and the deal with "coated" strings is that they also prevent accumulation of dirt and gak along the windings to some extent. Those, however, do not respond well to solvents.
Good luck out there.
Last edited:
Bass String Retainer
I'm about to install a 3 and a 2 string retainer on my 5 string Aria Pro II Detroit 5. I bought it to mod out, and adding these and a new bridge are first order. I'll post about it if ya like.
I'm about to install a 3 and a 2 string retainer on my 5 string Aria Pro II Detroit 5. I bought it to mod out, and adding these and a new bridge are first order. I'll post about it if ya like.
By "exposed core" do you mean "taper wound"? My B and E are currently taper wound on both basses.
I'm taking a 1st step in experimenting with the oldest bass. I ordered a DDT string and a retainer for the machine head. A new bass isn't out of the question, but why not try to improve what I have? Then get a new bass too 
B strings tend to reflect a number of different things about the bass.
in some cases, just moving the pickups closer to the strings will get you what you need. I like them very close for a ramp feel and almost never have B string problems.
in my experience this works more than most other things you could try, including changing string type or gauge.
in some cases, just moving the pickups closer to the strings will get you what you need. I like them very close for a ramp feel and almost never have B string problems.
in my experience this works more than most other things you could try, including changing string type or gauge.
35 inches if size is no problem (Yamaha, Lakland)( i struggle a bit here)
Dingwall if money is no problem (I dont know why, but despite bigger scale length the fanned fret is easier on small hands)
Ibanez if you want fanned fret that doesn't break the bank
Dingwall if money is no problem (I dont know why, but despite bigger scale length the fanned fret is easier on small hands)
Ibanez if you want fanned fret that doesn't break the bank
There are a lot of factors. Bass specs, setup, strings, AND technique. You can maybe compromise on 1-2 of these before it sounds messy.
Longer scale lengths are better if everything else is equal. All other specs being equal is very rare. A 35" scale Roscoe will probably have a better low B than a 34" scale Fender. Better break angles and a rigid neck can allow the same or shorter scale length sound as good or better than most store brand basses.
Setups can make stuff better or worse. When in doubt, take it to a trusted shop, friend, etc.
Strings....idk. Maybe I've been lucky. I have found that longer scale length can allow for a slightly thinner string, which sounds more even up the neck. Heavy strings might be better, but play it up the neck and it quickly loses definition.
Technique. I recently took a bass to the shop to have a nut slot filed. The guy told me my action was WAY too low. He played my bass with hammer fingers and it buzzed like crazy. My technique is much lighter. No buzzing. I suspect this is part of the problem. Lighten your technique and things might sound better. You're playing with an amp, right? Let the amp do the heavy lifting. See Gary Willis for more on that.
Longer scale lengths are better if everything else is equal. All other specs being equal is very rare. A 35" scale Roscoe will probably have a better low B than a 34" scale Fender. Better break angles and a rigid neck can allow the same or shorter scale length sound as good or better than most store brand basses.
Setups can make stuff better or worse. When in doubt, take it to a trusted shop, friend, etc.
Strings....idk. Maybe I've been lucky. I have found that longer scale length can allow for a slightly thinner string, which sounds more even up the neck. Heavy strings might be better, but play it up the neck and it quickly loses definition.
Technique. I recently took a bass to the shop to have a nut slot filed. The guy told me my action was WAY too low. He played my bass with hammer fingers and it buzzed like crazy. My technique is much lighter. No buzzing. I suspect this is part of the problem. Lighten your technique and things might sound better. You're playing with an amp, right? Let the amp do the heavy lifting. See Gary Willis for more on that.
Try a .120 B instead?
Lakland 5 strings are 35" scale and have very good B strings. I think I'm running a .120 at the moment. At any rate, longer scale length will usually help, but mostly you're looking for stiffness and a resonant frequency far away from the fundamental if you want a nice, tight and sustaining B. Alembic and some others build some fine medium and short scale basses with a low B, and I think the stiffness of the neck has mostly everything to do with it.
YMMV
John
Agreed on this entirely. Every time I've dug in hard on any B string it sounds awful. It's tough to do in the moment (for me) to change technique string to string but it's absolutely helped. When I play the B, I try to play as lightly as possible, that lets the notes bloom and emerge instead of being "pulled" out of the string, if that makes sense.
I’m convinced that some basses just HAVE IT. Longer scale may help, but my $800 Ray 35 is 34” and has a great B.
I gig a Lakland 55-02 very regularly, and it’s 35” B is decent- not necessarily amazing. I picked up a USA Peavey Cirrus 5 (also 35”) last year and its the best B I’ve ever played. Deep, clear, punchy. I can riff on the B string just as good as an E string on any other bass. I played it in a local shop and I’ve never coughed up $1500 so quickly in my life. I had to have it!
I gig a Lakland 55-02 very regularly, and it’s 35” B is decent- not necessarily amazing. I picked up a USA Peavey Cirrus 5 (also 35”) last year and its the best B I’ve ever played. Deep, clear, punchy. I can riff on the B string just as good as an E string on any other bass. I played it in a local shop and I’ve never coughed up $1500 so quickly in my life. I had to have it!
After going through countless basses over the years and test driving even more, I think its best to try out the basses you are drawn to and check for yourself if you are fine with their B String on each individual instrument.
A few observations I have made (and others might disagree of course):
- Strings matter. For roundwounds I have settled on Fodera Strings (and sometimes Dunlops). A .120 or .125 gauge works best for me. The supper big gauges (to my ears) can make things muddier and dont really improve clarity and tone.
- Set up matters (string height, neck relief, distance to pick ups etc.)
- Touch and Technique matters.
- In a live setting its important to have good and powerful Amplification.
All that said, I have never been able to entirely solve a real crappy B String situation through the things mentioned above. Improve a little yes but not entirely fix it. Sometimes a bass just has a weird B string....and it sucks. Strange overtones, lack of sustain, no clarity, choking out on notes etc.
I have played neck throughs, bolt ons, active and passive basses, multi lams or one piece necks, Multi scale, 36 inch all the way down to 30 inch scale, graphite reinforced or not.....and honestly I have had great and and not so great (all the way to crappy) B Strings on any of them. Played a custom 30 inch scale that that had an absolutely fine B String all the way up to the 12th Fret. Played 35 inch scale boutique basses where the B string just wasnt happening.
All that said I think there are some brands that consistently have good B Strings. For example Ken Smith, Roscoe, basses by Michael Tobias.... to me the most important thing is consistency in tone and volume on all strings, clarity and sustain with no weird overtones. You can find amazing, "musical" B Strings on basses with 34 inch scale or sometimes even shorter.
So my advice would be to just try as many basses as you can. And also dont spend too much time trying to "fix" a bass with a crappy B string. For me that path has never been worth it.
A few observations I have made (and others might disagree of course):
- Strings matter. For roundwounds I have settled on Fodera Strings (and sometimes Dunlops). A .120 or .125 gauge works best for me. The supper big gauges (to my ears) can make things muddier and dont really improve clarity and tone.
- Set up matters (string height, neck relief, distance to pick ups etc.)
- Touch and Technique matters.
- In a live setting its important to have good and powerful Amplification.
All that said, I have never been able to entirely solve a real crappy B String situation through the things mentioned above. Improve a little yes but not entirely fix it. Sometimes a bass just has a weird B string....and it sucks. Strange overtones, lack of sustain, no clarity, choking out on notes etc.
I have played neck throughs, bolt ons, active and passive basses, multi lams or one piece necks, Multi scale, 36 inch all the way down to 30 inch scale, graphite reinforced or not.....and honestly I have had great and and not so great (all the way to crappy) B Strings on any of them. Played a custom 30 inch scale that that had an absolutely fine B String all the way up to the 12th Fret. Played 35 inch scale boutique basses where the B string just wasnt happening.
All that said I think there are some brands that consistently have good B Strings. For example Ken Smith, Roscoe, basses by Michael Tobias.... to me the most important thing is consistency in tone and volume on all strings, clarity and sustain with no weird overtones. You can find amazing, "musical" B Strings on basses with 34 inch scale or sometimes even shorter.
So my advice would be to just try as many basses as you can. And also dont spend too much time trying to "fix" a bass with a crappy B string. For me that path has never been worth it.
Length, diameter, material, construction are the factors you can change. You can try different strings, the variability in material is not going to change much. DR does compression treatment to their strings and you might like that. make sure the B string has adequate downforce on the nut and the nut is cut properly. You can temporarily add some downforce to the B string with a capo behind the nut to test downforce. Make sure you have a witness point set at the bridge. You should be able to get a good B string with 34". It's done all the time and people are getting great tones with even short scale 30" strings. Maybe examine your playing style as well?
JazznFunk
Supporting Member
Get thee to a Lakland 55-01 or even 55-94. Best B-string in the biz. I had the same issues with 34" Fender Jazz V's in the past. The B-string sounded like it belonged on another instrument. The Lakland is the best B-string I've ever played. I use light gauge nickel rounds thru-body on mine, but heavier gauges should sound great too!
