Mixing string sets to balance tone

[skycruiser]

I have a set of Fender 9050M flats in my P bass. I find that the middle two strings are well balanced, but to maintain similar tone I have to shift my playing position toward the neck on the G string (to reduce harmonics) and shift toward the bridge on the E string (to increase the harmonics). This is not easy to do all the time, but in some key parts of songs I have learned to do it.

If I want to try to better balance this out, is there a rule of thumb on which way to shift the gauge to achieve this? My gut says fatter G string and lighter E string, but maybe I have that backwards.

I have various strings in my drawer that I might try, but not sure where to start.

 

[michael_t]

If I want to try to better balance this out, is there a rule of thumb on which way to shift the gauge to achieve this? My gut says fatter G string and lighter E string, but maybe I have that backwards.

Higher tension = more harmonic content. This means if you want to increase the harmonic content on the E, you should increase the gauge to make it tighter. And if you want to decrease the harmonic content on the G (= tame the twang), you should go down in gauge to make it less tense.

 

[skycruiser]

Higher tension = more harmonic content. This means if you want to increase the harmonic content on the E, you should increase the gauge to make it tighter. And if you want to decrease the harmonic content on the G (= tame the twang), you should go down in gauge to make it less tense.

Thanks! This matches what I was thinking. Now to dig through the string drawer to see what I can come up with...

I guess I could also try a round wound on the E. That also goes in the right direction.

 

[Phaidrus]

Higher tension = more harmonic content. This means if you want to increase the harmonic content on the E, you should increase the gauge to make it tighter. And if you want to decrease the harmonic content on the G (= tame the twang), you should go down in gauge to make it less tense.

But isn't the idea of putting together a set with such monsta 55 G flatwound string to achieve a fatter tone?

Put otherwise, if lower tension = less harmonic content TI flats would be the dullest set.

 

[Phaidrus]

I have a set of Fender 9050M flats in my P bass. I find that the middle two strings are well balanced, but to maintain similar tone I have to shift my playing position toward the neck on the G string (to reduce harmonics) and shift toward the bridge on the E string (to increase the harmonics). This is not easy to do all the time, but in some key parts of songs I have learned to do it.

If I want to try to better balance this out, is there a rule of thumb on which way to shift the gauge to achieve this? My gut says fatter G string and lighter E string, but maybe I have that backwards.

I have various strings in my drawer that I might try, but not sure where to start.

How old are your strings? Perhaps they will balance out with time.

Interestingly I have ordered a 9050M set in order to avoid this very issue, namely a trebly G and D compared to the E and A.

 

[skycruiser]

How old are your strings? Perhaps they will balance out with time.

Interestingly I have ordered a 9050M set in order to avoid this very issue, namely a trebly G and D compared to the E and A.

Few weeks maybe. 30-40 hours of playing time I would guess. Maybe give them a few more weeks to break in?

 

[Phaidrus]

Few weeks maybe. 30-40 hours of playing time I would guess. Maybe give them a few more weeks to break in?

I would think so. Also, depending on what kind of music you play, G string may be played considerably less than the rest and consequently retain its overtones longer.

Btw, how do you find this set tension-wise? Did you have to adjust the truss rod?

 

[micguy]

The pickup position is a factor here. If you're expecting the same note played on two different strings to sound the same, you're in for a rude awakening - the comb filtering from the pickup(s) position(s) is different for every string - there is literally no way to get two of the same notes played on different strings to sound the same, even if the strings aren't a factor.

That said, experimenting with different strings may make you somewhat happier with things - I have a couple basses where I use GHS Boomers for the GDA, and E strings, and a GHS Bassics 130 for the B - it seems to match the other 4 strings better than the 130 Boomer.

And G strings are usually the only single wound string - they twang more than the rest of the set in almost all cases. A Pressurewound G might be a better match to a round wound set than a round wound one.

 

[skycruiser]

I would think so. Also, depending on what kind of music you play, G string may be played considerably less than the rest and consequently retain its overtones longer.

Btw, how do you find this set tension-wise? Did you have to adjust the truss rod?

They were put on a new bass and fret level was done first. I didn't ask my luthier if he adjusted the truss rod so I don't know.

I'm playing 70s covers, clean tone. I have been moving my left playing position up at times to avoid the G string. It really is the most starkly out-of-family of the 4 strings. I have to shift my right hand up a good 2 inches or so to level out the tone on the G. It is a bit awkward.

 

[micguy]

Higher tension = more harmonic content.

My experience disagrees. A thinner, more flexible string supports more harmonics than a fatter one. The stiffness of the fatter one attenuates harmonics more quickly.

 

[skycruiser]

The pickup position is a factor here. If you're expecting the same note played on two different strings to sound the same, you're in for a rude awakening - the comb filtering from the pickup(s) position(s) is different for every string - there is literally no way to get two of the same notes played on different strings to sound the same, even if the strings aren't a factor. That said, experimenting with different strings may make you somewhat happier with things - I have a couple basses where I use GHS Boomers for the GDA, and E strings, and a GHS Bassics 130 for the B - it seems to match the other 4 strings better than the 130 Boomer.

I do find that moving my plucking point around as described gets me much closer to an even tone. I agree it will never be perfect, but I'm not looking for perfection. Just a move toward something a little better and easier to deal with.

 

[micguy]

I do find that moving my plucking point around as described gets me much closer to an even tone. I agree it will never be perfect, but I'm not looking for perfection. Just a move toward something a little better and easier to deal with.

Some accommodation for the quirks of your instrument is part of mastering an instrument, but yes, it's nice if the instrument works with you on most fronts.

 

[Phaidrus]

I have been moving my left playing position up at times to avoid the G string. It really is the most starkly out-of-family of the 4 strings. I have to shift my right hand up a good 2 inches or so to level out the tone on the G. It is a bit awkward.

Judging from my (amateur) experience, this is the way strings are. With a bass strung with bright rounds, I just don't care and don't notice. In fact I probably want the G to be bright and deliver some funk when playing octaves or occasionally slapping. But with a bass with flats I do notice the brighter G (and D) because I want/expect to get a smooth creamy tone evenly across all strings. My remedy so far, with some success, is to put together sets with thicker D and G strings, e.g. 50-70-85-105. This does not eliminate the imbalance entirely but it makes it considerably less obvious/annoying. I also see that D and G get played as much as E and A. Sometimes I just play some silly runs on them just to wear them out.

 

[JRA]

i haven't been annoyed by string imbalances, but if i had issues: i wouldn't hesitate to try different gauges for one string or another.

i've known cats (like @micguy) who do their own version of mixing and matching to get results. IMO/IME = whatever works!

it'll be interesting to see what you come up with, @skycruiser. good luck finding the right string combinations!

 

[Stewie]

All three of my basses have a deader E and a brighter G. A Prevision, a Tele, and a plywood upright. I only notice when I’m playing alone, when the band is boogieing, it doesn’t matter anymore. GHS Precision Flats (45-105) and Jargar Dolce(light)

 

[JimmyM]

Too much work for me, my friend . And yet I use a P for almost everything these days. Try getting a better balance with the pickup height. And usually moving pickups farther away than closer gives me better balance. You need them a little close, but too close makes it worse imho.

 

[skycruiser]

One correction - I'm using the 9050ML set, 0.50-0.100

Digging through my string drawer, I don't have any flats to try. I have a 0.045 Fender G string but it was cut short for a Sterling Ray long ago. I had a set of Cobalt flats with a .105 E string but it went with my Yamaha when I sold it. I need to remember to put those stock strings back on when I sell a bass!

So for now I think I'll let these break in for awhile and see if they even out.

 

[logdrum]

I am in the camp of light gauge higher action. Sometimes that twangy G is the string hitting the frets. Also more thump with thinner gauge. Salsa bassist - do this with the upright and Ampeg baby bass. I think stiffer strings do allow you to keep the action low. I wished I discovered GHS earlier. Discovered them just after COVID started. Try precision flats. I usually do not like flats but digging the GHS Precision Flats Light 95 to 40

 

[JKaftertwoxans]

Listen to michael_t's advice, contrary to popular belief a .40 G string ends up sounding fatter than .45 and above. It might initially seem zingier but when it settles there's less twang and more fundamental. I don't have a clue of the actual physics behind it but im guessing the slightly thinner gauge allows the string to vibrate in a way that doesn't emphasize the high end, a thicker string will be more akin to a tightly taut piano string with a shriller top end.

 

[fourfinger]

A thin slice of foam at the bridge reduces the harmonics of all the strings a little, but can be “customized” string to string by shaping the foam. I tried it and was immediately hooked.