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Please help with G string

DeepHotBass

DeepHotBass

Guest
Oct 23, 2012
40
9
#1
I have a '76 Ric 4001 that is my go-to workhorse. Currently I am running GHS Precision Flatwound strings on it and my G is a 55, but I have never found any set of strings with a G string that has the fat qualities of the other strings. I find myself going up on the fretboard all the time on the E and A string just to avoid the sound of a weak G. We're doing funk and Motown and I just need a fat sound on all strings. Anyone have any suggestions for strings that don't lose that fat sound once getting up to the G?
 
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#2
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#5
Are you sure it is a 50G? GHS Flats only come in 45 and 55.
I have found if flatwounds are broken in thoroughly the G no matter the size dosent sound thin at all.
But saying that, the G by nature is your thinnest sounding string.
Its why alot of people tune BEAD instead.
Im not one of them but i understand it.
 
#6
Shawshank72, you are correct. I checked back and see my G string is a 55. I would have never thought I'd have this issue with a 55. I guess we now know that size DOES NOT always matter. There must a configuration and brand that can deliver this sound. Maybe like 100, 90, 80, 70? GHS makes something called a Boomer in these sizes, and more. Juststrings.com sells singles by Black Diamond, Cleartone, D'Addario, Dean Markley, DR, Elixir, Ernie Ball, Fender, GHS, Smith, La Bella, Pyramid, RotoSound, SIT, and Thomas Infeld Vienna. Anyone have any suggestions on these brands? Or advice on whether I'll run into a tension issue with these thicker strings?
 
#7
The other option is to keep the GHS G string, which is mellow for a flat G string compared to others, and brighten up the rest of the strings, say with something like Fender or Ernie Ball flats for the other three strings. My 4002 (yes, "2," not "1" or "3") is the same way: the G string twangs. So I either use tapewounds or a 44 GHS Pressurewound with 60-80-105 Progressives. Yes, picking a little closer to the neck is about the only solution, given the nature of the Rick bridge/tailpiece setup. There is really no way to increase the break angle over the saddle as there is on other types of bridges.
 
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#8
iiipopes, interesting concept. Brighten up my lower strings, and then use my GK head settings to deepen the entire tone. I've never played tapewounds yet. I was afraid they'd be too dead. Seems like you are a fan. How do you find them as compared to flatwounds?
 
#10
I've been gigging weekly with this set for 6 months. If anything, I think it's developed a thinner sound on the G. With the narrowness of the Ric neck, I wouldn't want a rubber band E otherwise I would be prone to fall off the sides.
 
#15
This might not be the answer you want, but just once, try recording yourself playing with a band - nothing high-tech or exotic, an iPhone will do. Play as if you were thinking that your G string had no issues at all. Listen to the playback, and the G might just sound fine, assuming the instrument is set up properly. More often than not, the problems with individual string volume you think you have onstage aren't really a problem. What you hear on the bandstand and what is heard even 15 feet away from your amp are often very different.
 
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#19
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OK, I thought I better insert this image to hopefully erase the image from Steve.

Back to business, I had a very reliable source last night also suggest raising the pickup on that side. They told me that it will either get brighter or fatter, but will change the tone of the G. It's a 50/50 shot that I'll try tonight.
 
#20
DeepHotBass said:
iiipopes, interesting concept. Brighten up my lower strings, and then use my GK head settings to deepen the entire tone. I've never played tapewounds yet. I was afraid they'd be too dead. Seems like you are a fan. How do you find them as compared to flatwounds?
Click to expand...
La Bella Blacks are deep and mellow like flats. La Bella Whites are almost as bright as regular stainless rounds. The Golds are in the middle, and the Coppers have a different midrange characteristic. The Fender tapes are about half way in between as well. The D'Addarios have the signature scoop tone, with a damped top end. GHS "whang" to me, just like the Brite Flats they are based on (pun intended). Rotosounds are made with damping material so they bloom and thump, emulating gut on a double bass - a lot of punch, damped down sustain. I gig alternating the Blacks and Whites on my 5-string, the Fenders on my custom half-fanned P/J, the Rotos on my AEB, and occasionally the D'Addarios on my Rickenbacker.

Jason has an article on them, which started my safari, and his observations are the word:
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