Mixing Strings to Tame the Twang

[Awesome Sauce]

Greetings, TB.

It's my understanding that mixing strings- both gauge and/or type- is quite common for our upright brethren and sistren; heck, for all orchestral strings. I've been thinking of doing the same on my Ray, as I love the tone and tension of my D'ad balanced B-E-A, but the D and G (especially) sound rather off or weak in comparison. I threw on a DR Pure Blues G, and the tone blended decently, but wasn't nearly as punchy as the D'ads. Now, I know different string type and manufacturer, but I don't see a reason mixing strings couldn't work on a slab, at least in theory. Has anyone tried this who could offer pairing/tone experiences or suggestions?

FWIW, I remember reading that JC from tool uses two different types of EB Slinkys, but I think it was more of a tension/gauge thing. Not quite what I'm looking to do. I'm really trying to same in the same tension/feel range.

Thanks, TB!

 

[Levin]

It all depends on the instrument and if you can live with the difference in sound and feel that is going to happen. For those two particiliuar strings, on that bass, only you know as almost no one have different string brands or even types at the same in my experience. For people who play only flatwound strings there have been some discussion which G-strings fits best with most kinds of flats, and some find it to be GHS's G.
In rounds however, you'll have to try it out for yourself if you don't change your setup first. I take it you have had other other kind of strings on the bass before, so you know that it isn't a pickup height issue or anything else? It happens to a lot of Ray owners, and never for some.
If you try my advice would be to not blending steels and nickels. Good luck! You won't know it until you try it.

 

[Awesome Sauce]

Thanks for the response, Levin. I mentioned the Ray, but it's an...issue...with all of my basses, and strings. I've never really been happy with the D and G strings in most sets, so I decided to give mixed sets a go. It's funny, most people can't seem to find a good B, and I'm looking for G. C'est la vie.

 

[JustForSport]

I tried using an older nickel-plated steel round B with some s/s flats and it really made the set match tonally, but I couldn't get used to the feel of flats and a round, so they all came off and were replaced.
If they were all rounds, I would just go for it.

 

[iiipopes]

Three instances that I mix/match strings, in my case to tame G string twang:
1) using a GHS Precision Flats G string with the other three strings having more growl, like EB flats or Fender flats;
2) using a Pressurewound G string with Progressive DAE strings;
3) using a La Bella black tapewound G with white tape wound DAE(B) strings.

 

[Awesome Sauce]

Thanks for replying! That's exactly what I want to do, just couldn't word it properly for some reason.

 

[ixlramp]

The inherent flexibility, clarity, brightness and harmonicity of thinner strings is unavoidable, a way to keep the tone dull and thumpy is to play high up the neck where the thinner strings become stiff through their shortness, for this basses should really have more frets, like 29.

 

[G On Bass]

Just did this today:

I love love love Sadowsky flats. But I play a 5 string, and to my ears, their tapered B does not match the rest of the set on any and every bass I've tried and the G is a little hot. (YMMV) I have a set of TI's, and love the B, but the D string sounds dead compared to the rest of the set. So I strung up the TI's on the B and G spots, using the Sadowskys for EAD. So far, I love it.

 

[iiipopes]

Thanks for replying! That's exactly what I want to do, just couldn't word it properly for some reason.

I have an entire thread about different ways to tame G string twang, not just with strings:
Another Cure for G-String Twang | TalkBass.com

And in addition to everything talked about in the thread, starting a few posts down, rotating the pickup so the G side is closer to the neck and the E side is closer to the bridge, or flipping a P-bass orientation, also tames twang by sampling the string further upstream, where there is more fundamental from more string excursion.