I’ve always had this issue with flats, even fully broken in, its usually the E string. Uneven tone from string to string, on several of the most popular brands here on TB. I quit using them and went back to rounds
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Mixing string sets to balance tone
- Thread starter skycruiser
- Start date
I've done extensive (almost excessive) testing of different flatwounds and tapewounds over the last decade or so and have also come to the realization that lighter gauge results in fatter tone, with all other factors as equal as possible. Mainly what I mean by that is the composition methods/formula - i.e. one brand's flatwound gauge 45 G will sound way different from another brand's flatwound gauge 45 G.
So since most string sets exhibit the same composition methods from string to string, as the gauges change in thickness without changing scale length, it makes sense that that the tone will often vary from string to string. Some manufacturers are doing balanced tension sets and that might help maintain the tone from string to string a bit, but I would still expect a little bit of differentiation. So all that in mind, I think that mixing and matching strings is a great idea. If the thought of "used" strings doesn't gross you out, it might be a good idea to keep an eye out for the next lot of various used flatwound sets in the classifieds section, just make sure they're the right scale/cut/bridge-mount. That way you get already-broken-in flats to swap out and match to taste.
By the way, my old Gibson has a D'Addario tapewound E string and Fender tapewound A-G to match what I want to hear from that bass. Not necessarily to match tones, but I like the extra bit of thump the D'Addario E gets me, even though the Fender E was the same gauge. I find that mix to be perfect on this bass and really couldn't care less about the visual/aesthetic mismatch.
Best of luck in the search!
So since most string sets exhibit the same composition methods from string to string, as the gauges change in thickness without changing scale length, it makes sense that that the tone will often vary from string to string. Some manufacturers are doing balanced tension sets and that might help maintain the tone from string to string a bit, but I would still expect a little bit of differentiation. So all that in mind, I think that mixing and matching strings is a great idea. If the thought of "used" strings doesn't gross you out, it might be a good idea to keep an eye out for the next lot of various used flatwound sets in the classifieds section, just make sure they're the right scale/cut/bridge-mount. That way you get already-broken-in flats to swap out and match to taste.
By the way, my old Gibson has a D'Addario tapewound E string and Fender tapewound A-G to match what I want to hear from that bass. Not necessarily to match tones, but I like the extra bit of thump the D'Addario E gets me, even though the Fender E was the same gauge. I find that mix to be perfect on this bass and really couldn't care less about the visual/aesthetic mismatch.
Best of luck in the search!
you can do whatever you like.
upright players regularly have mixed string sets.
i personally feel electric bass strings are just about impossible to get a good result with mixed sets. I'd recommend trying many other matching sets from other manufacturers first.
some may disagree, but for me the feel (physical feel, springyness, tension) and sound are harder to match with electric strings.
upright players regularly have mixed string sets.
i personally feel electric bass strings are just about impossible to get a good result with mixed sets. I'd recommend trying many other matching sets from other manufacturers first.
some may disagree, but for me the feel (physical feel, springyness, tension) and sound are harder to match with electric strings.
Good idea. I will try to put a damper on just the G string tonight and see if that helps. Could be a simple change to move it in the right direction!
You can mix and match whatever strings you'd like. For example, the late T-Bone Wolk (of Hall and Oates fame) used a roundwound E string and flatwound A, D & G strings on his vintage P-Bass, and achieved some fantastic tone.
You can do and try whatever you want. For flats to get there tone you need to give them a bit more time to even out. You can speed this up a bit with vaseline, rub it in and wipe down the string. A Sean Hurley trick.
A harsher G string and fatter E string is one of the biggest advantages on bass for me. We got the same notes with a different feel so you need to adapt your playing to this. A piano has more notes but not one the same.
RnB, reggae, slow groove jazz stuff I hardly ever touch the G string, I find the notes on the lower strings.
A harsher G string and fatter E string is one of the biggest advantages on bass for me. We got the same notes with a different feel so you need to adapt your playing to this. A piano has more notes but not one the same.
RnB, reggae, slow groove jazz stuff I hardly ever touch the G string, I find the notes on the lower strings.
On a precision, I found that set imbalanced as well. It was initially more based on the feel, having played 45-105 pretty much my entire life. 50-100 felt weird to me. I gave them a go but they did also sound imbalanced as I perceived it, especially recording (the stiffer "thumpier" highs and the floppier "twangier" lows). I switched to 45-105 Chromes for a while--cool, balanced but not classic sounding enough. Now use Labella 760FS 45-105 - perfectamundo.
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I read about a guy who played w Prince, who uses flats on the E,A,D and a round on the G for poppin'!
JazznFunk
Supporting Member
On upright bass, mixing strings is often super common, but there are lots of other factors at play with DB that necessitate it which don't always cross over to electric. I've never mixed strings on electric.... I just adjust pickup heights and bridge setup to even things out. That's where the greatest benefits will be found on electric bass.
It is a bit of trouble, but I've been buying singles to create sets with brighter types of low strings and thumpier high strings. I usually stay within one brand, and try to keep the materials as consistent as possible. I think my ideal set would be a round 4th, pressurewound 3rd, groundwound 2nd, and flatwound 1st, all stainless steel (or all alloy 52 would be interesting). I guess I kind of like the trouble—feels like mad science and over theorizing (which, tbh, I love).
To add to all the other amateur understanding,
My thinking is that higher tension does equal more harmonics, but also I think larger core diameter means less harmonics. This would mean that sometimes going up a gauge does something easy to understand—if that brand uses the same diameter core for the two different gauges. But if the manufacturer has also increased the core diameter, then the tone change might be more complicated. And across string brands, you can't always tell what the tension will be like (because of different core diameters...as well as density and tension of the wrap, and whatever else).
My understanding is that rounds sound different than flats because of 1) tension differences, 2) the way your finger or pick slide off the surface of the string, and 3) the way the string moves through the magnetic field (flats acting more like an idealized line, and rounds having a more complicated shape that leads to a different harmonic timbre). Tapes, for instance, move through the magnetic field like low tension rounds but have a surface more like flats—so they sound kind of uniquely bright but also thumpy: a unique combination of {low tension means more fundamental, less harmonics} while {roundwound means more character to harmonics} as well as {smooth surface means mellow string noise and more of an idealized pluck leading to more fundamental}.
To add to all the other amateur understanding,
My thinking is that higher tension does equal more harmonics, but also I think larger core diameter means less harmonics. This would mean that sometimes going up a gauge does something easy to understand—if that brand uses the same diameter core for the two different gauges. But if the manufacturer has also increased the core diameter, then the tone change might be more complicated. And across string brands, you can't always tell what the tension will be like (because of different core diameters...as well as density and tension of the wrap, and whatever else).
My understanding is that rounds sound different than flats because of 1) tension differences, 2) the way your finger or pick slide off the surface of the string, and 3) the way the string moves through the magnetic field (flats acting more like an idealized line, and rounds having a more complicated shape that leads to a different harmonic timbre). Tapes, for instance, move through the magnetic field like low tension rounds but have a surface more like flats—so they sound kind of uniquely bright but also thumpy: a unique combination of {low tension means more fundamental, less harmonics} while {roundwound means more character to harmonics} as well as {smooth surface means mellow string noise and more of an idealized pluck leading to more fundamental}.
I agree with changing pickup height as needed. Often we do not need the G side as high as we think we do.
Those Fenders are great. Using 9050L instead, and only con would be a flabbier E, which is nonetheless not much so, and your set shares it as well (these Fender flats are rather stiff despite the relatively low tension.) Would be perfect with a 105 E, which I believe they used to make. But it's perfectly balanced in tone-I must give them that-from E to G. Easy feel without feeling too pliable/soft/weak under both hands' fingers. I have used heavy tension Roto flats, and do not feel out of my element with the "light" Fender flats. Basically the "looser" strings on the treble side match better the bassier strings on the 9050Ls-at least, that is what I believe happens on the L set. Some people swear by the M set, so it's a matter of taste and preference.
Ultimately it's personal! Hope you find your own solution soon. Sorry it's being a problem for you.
Those Fenders are great. Using 9050L instead, and only con would be a flabbier E, which is nonetheless not much so, and your set shares it as well (these Fender flats are rather stiff despite the relatively low tension.) Would be perfect with a 105 E, which I believe they used to make. But it's perfectly balanced in tone-I must give them that-from E to G. Easy feel without feeling too pliable/soft/weak under both hands' fingers. I have used heavy tension Roto flats, and do not feel out of my element with the "light" Fender flats. Basically the "looser" strings on the treble side match better the bassier strings on the 9050Ls-at least, that is what I believe happens on the L set. Some people swear by the M set, so it's a matter of taste and preference.
Ultimately it's personal! Hope you find your own solution soon. Sorry it's being a problem for you.
Very true. This is a good place to start.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.
Too much work for me, my friend
Another quick and easy thing to try - thanks!
This is precisely my experience with multi-scale basses. It makes the high C much less twangy and gives the low B some extra meat.
John
Came to me as an already modified/repaired 1962 EB-0 road warrior. I gave it extra TLC to bring it back to great playability, then further modified the electronics (Joe Barden pickups & JTEX Distiller preamps) and hardware (Hipshot bridge & Sperzel tuners) to suit my needs. Truly an amazing instrument and tied for second place in my stable!
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