String tone discussion

[fretlessman71]

So I've been thinking on this for a while, trying to find the best brand of string for each of my pro basses (gig worthy or studio worthy). I'm a firm believer in the concept that tone starts with the musician, and each element on down the line is somewhat less of a factor than the one before it (various effects notwithstanding of course). And so I pay very close attention to what certain strings (second in line!) sound like on different basses, as do many of you I'm sure.

It seems to be the case that with all the string choices we have - steel, nickel, nickel plated steel, cobalt, copper, gold, whatever else I forgot - the only real difference is that we're controlling the higher frequencies created by the strings, and not so much the lower frequencies.

For example, steel is generally brighter than nickel. By contrast, nickel isn't "bassier" than steel; it's just "less bright". The same can be said, I think, about rounds vs. flats.

Is this truly the case? Or are there strings out there that somehow add bottom end to an otherwise thin sounding bass?

 

[trothwell]

Some strings do seem to me to offer a fuller low-end tone than others. For example, Labella flatwound strings sound fuller on the low end than TI flats. I think Labella quarter-round strings sound fuller on the low end than any roundwound strings I remember. I'm not so sure about if any roundwounds sound fuller on the low end than other roundwounds, but I would not be surprised at all.

The difference that I hear is, like, I think, especially below the low A. As you go down below that note, some strings seem to kind of fizzle out. The sound isn't as full as above low A or so. But then, like with the Labella flats or quarter-rounds (or GHS flats, or...), the lower notes remain sounding full, at least once the strings are broken in a bit.

 

[Moving Pictures]

Some strings do seem to me to offer a fuller low-end tone than others. For example, Labella flatwound strings sound fuller on the low end than TI flats. I think Labella quarter-round strings sound fuller on the low end than any roundwound strings I remember. I'm not so sure about if any roundwounds sound fuller on the low end than other roundwounds, but I would not be surprised at all.

The difference that I hear is, like, I think, especially below the low A. As you go down below that note, some strings seem to kind of fizzle out. The sound isn't as full as above low A or so. But then, like with the Labella flats or quarter-rounds (or GHS flats, or...), the lower notes remain sounding full, at least once the strings are broken in a bit.

I agree with all this and in my experience the LaBella Deep Talking Rounds definitely sound fuller in low end. I use them, or DTFs, on my SG bass. Great strings. I'm definitely of the opinion that strings matter.

 

[fretlessman71]

I wonder what you have to do in the construction of a string to get more low end response?....

 

[Al Kraft]

I think how a string is constructed and wound makes some difference as well. In many cases that construction (e.g. round core, hex core, pressure wound, etc.) may affect the stiffness/tension as well as other attributes and I suspect we get more or less overtones and undertones from this as much as (maybe more than) from different materials.

I definitely hear some strings as more focused in certain frequency ranges than others and am not sure what all the factors are that contribute to that. String design and manufacture are as much art as science in some respects.

 

[fretlessman71]

Feel free to tag people you think might have some insight. I'm very curious!

 

[Al Kraft]

I'm admittedly a touch out of my element here, but after doing a little reading and thinking I have a few thoughts. I believe what we get with any string is the fundamental frequency and a set of related odd and even overtones in varying proportions and amplitudes. I think undertones exist somewhat minimally, if at all, as a secondary effect of the string interactions with the instrument and reflected energy coupling effects.

My thoughts assume that we take all the variables such as string mounting (bridge and saddle design and materials), near field reflective surfaces (fret board, body of the instrument for instance) and effects of acoustical coupling from our own amplifiers and speakers out of the equation. With all those things held constant, I think that different string attributes (gauge, material, construction in all aspects inside and out) will cause an increase or attenuation of the amplitude (acoustic strength) of a fundamental as well as corresponding overtones. We probably perceive this as being "brighter" or bassier" or louder. The string itself is a relatively under-damped spring (obviously air friction and a magnetic field tend to provide some minimal level of damping) which is why we need to apply proper technique to avoid constant ringing of notes we didn't actually play.

I think the coupling effect of undertones reflected back to the string probably don't play a real significant role in the difference we hear via magnetic pick-ups feeding an amp and cab. So my sense is that some strings may produce a higher amplitude of their fundamental frequency than others and that perception could be enhanced by concomitantly having fewer high frequency overtones and/or more lower frequency harmonic content.

 

[Linnin]

GHS Precision Flats have a flat stainless steel wrap. They are not bright. The are extremely focused on the fundamental frequency of each note and the resultant tone is very pure with few overtones and even fewer undertones. I like these better than any other flat.

D'Addario Chromes have a flat stainless steel wrap. They are very bright and twangy for a flat. So stereotyping strings is a futile endeavor.

Just find the ones you like. Set your bass up specifically for that stringset, and always buy that exact same set when you restring.

 

[Al Kraft]

I would agree that there too many variables to get to a scientific answer that you can apply precisely in every instance.

The OP's question/thought I was trying to address was whether or not string differences mostly or only accentuate or attenuate higher frequencies/harmonics as opposed to increasing the amount of fundamental and why.

 

[fretlessman71]

I would agree that there too many variables to get to a scientific answer that you can apply precisely in every instance.

The OP's question/thought I was trying to address was whether or not string differences mostly or only accentuate or attenuate higher frequencies/harmonics as opposed to increasing the amount of fundamental and why.

Precisely. I have my favorite strings, and use them on many of my basses. And I firmly believe that there really aren't any "bad" strings, but strings that have simply been installed on the wrong instrument. But I am increasingly interested in the science behind what makes a string sound the way it does. Just got a set of LaBella DTB Quarter Rounds (per recommendation here, plus they were on sale) and I am excited to put them on to see if they're the best of both worlds. Round bottom, modern attack, less string noise. Fingers crossed.