Strings For Specific Basses

[40Hz]

I just pulled the trigger on a set of GHS BN lights after listening over and over. Cross fingers we dig these.

Makes two of us. Mine haven’t shown up yet. Long scale is going on either a Peavey T-20 or T-40 -or- an ‘82 Ripper if I don’t decide to keep the Kalliums on it. Haven’t decided just which yet. The short scale is either going on a Gibby SB-300 or (more likely) a Chowny WSB-1.

First world problems! They just never end.

Should be interesting.

 

[twogear]

I received my set of light GHS Balanced Nickels. They will stay on my J bass for a while. I like the fact that if I need to dig for any reason I dig with equal aggression across all four strings. They feel very good on the fingers too. I had to intonate a little on E and D but with in 10 mins I was good. So I guess that's why they call them balanced. Pretty much sums it up.

 

[lloganbracee]

Makes two of us. Mine haven’t shown up yet. Long scale is going on either a Peavey T-20 or T-40 -or- an ‘82 Ripper if I don’t decide to keep the Kalliums on it. Haven’t decided just which yet. The short scale is either going on a Gibby SB-300 or (more likely) a Chowny WSB-1.

First world problems! They just never end.

Should be interesting. [/QUOTE

Makes two of us. Mine haven’t shown up yet. Long scale is going on either a Peavey T-20 or T-40 -or- an ‘82 Ripper if I don’t decide to keep the Kalliums on it. Haven’t decided just which yet. The short scale is either going on a Gibby SB-300 or (more likely) a Chowny WSB-1.

First world problems! They just never end.

Should be interesting.

I’d LOVE to know what these sound like on a Ripper, which to me is warm & round sounding as it is, yet somehow cuts through the mix very nicely.

Man, I love those basses.

 

[lloganbracee]

Depends on the tone one is looking for , slap on flats doesn't really work and DR high beams for country doesn't really work .(Although the tone knob can dumb that down!) Always had good luck with EB super slinkys , didn't care for Roto's ,liked D'Addario Reds before they became coated (but they turn your fingers green!) . Just tried DR Hi beams and am so far liking those ! Almost a piano sound .

I think anyone who thinks that slap doesn’t work on flats needs to listen to Stadium Arcadium from beginning to end. Hump de Bump, for example, sounds phenomenal (I believe Flea is using some kind of flat Labella’s loaded to a 1961 Jazz on that album).

 

[Al Kraft]

I found Slinkys sounded the best on my MusicMan Sterling, -although I currently have Boomers on it for a recording project; the Songwriter prefers fat sounding bass tone.

Arthur, you and I seem to hear things very similarly and I'd appreciate it if you would share a bit more about the differences between these two string sets on your Sterling. Years ago I was all about GHS Boomers, but never tried them on the Sterling...it's had steady diet of the factory strings. Thanks!

 

[Paulabass]

If a bass is a bit dark sounding, I'll use DR's. If it's too bright, D'addario. Flats on a P-bass for R&B (I'm new to the party on that, but converted). Groundrounds on my Ric. Stainless rounds on everything else.
I also pick string/bass for the type of band. If there's a bunch of single coil guitars and Fender amps, get low, and fit in UNDER all that midrange. With a bunch of half stacks on stage, fill the scoop in the midrange with bright strings/bass.

 

[Arthur U. Poon]

Arthur, you and I seem to hear things very similarly and I'd appreciate it if you would share a bit more about the differences between these two string sets on your Sterling. Years ago I was all about GHS Boomers, but never tried them on the Sterling...it's had steady diet of the factory strings. Thanks!

Well, thank you, Al!

To my ears, Slinkys have a "full range" sound. They don't sound scooped in the mids. They have excellent low end, which is big and very defined, and a very clear sounding high end that can cut through, although it isn't harsh sounding. Great, great strings, IMO, especially on EBMM basses.

IMO Boomers have quite a bit less top end. I was recording with a friend who dislikes bright sounding basses, so I guessed Boomers might be a better choice for his project. Their low end sounds slightly fatter, and they have that low mids "bump". Boomers have "Bite", but it's kind of sublime IMO.

All in all, and IMO, Slinkys are "IT" for EBMM basses. I once owned an SR5, and I felt the same way with it. Because of their excellent onboard preamp, you can dial in, or dial out what you want or need. And Slinkys have a really balanced sound across the spectrum, so when my bass' eq is set flat, it sounds that way to my ears. And the onboard eq is very responsive to adjustments. I've never had to "Dime" a band either way, especially when I use Slinkys. Actually, the most useable sound I get from my Sterling is to barely back off the highs, and barely turn up the lows and mids. I pretty much can leave it at those settings and play all night.

Isn't the Sterling a killer bass?!

I've only owned EBMM's single pickup basses, yet they're so versatile with their eq and the 3-way wiring switch, I've never felt I was lacking anything.

That's my two cents, anyway.

All the best to you and yours, Al!

 

[Al Kraft]

Well, thank you, Al!

To my ears, Slinkys have a "full range" sound. They don't sound scooped in the mids. They have excellent low end, which is big and very defined, and a very clear sounding high end that can cut through, although it isn't harsh sounding. Great, great strings, IMO, especially on EBMM basses.

IMO Boomers have quite a bit less top end. I was recording with a friend who dislikes bright sounding basses, so I guessed Boomers might be a better choice for his project. Their low end sounds slightly fatter, and they have that low mids "bump". Boomers have "Bite", but it's kind of sublime IMO.

All in all, and IMO, Slinkys are "IT" for EBMM basses. I once owned an SR5, and I felt the same way with it. Because of their excellent onboard preamp, you can dial in, or dial out what you want or need. And Slinkys have a really balanced sound across the spectrum, so when my bass' eq is set flat, it sounds that way to my ears. And the onboard eq is very responsive to adjustments. I've never had to "Dime" a band either way, especially when I use Slinkys. Actually, the most useable sound I get from my Sterling is to barely back off the highs, and barely turn up the lows and mids. I pretty much can leave it at those settings and play all night.

Isn't the Sterling a killer bass?!

I've only owned EBMM's single pickup basses, yet they're so versatile with their eq and the 3-way wiring switch, I've never felt I was lacking anything.

That's my two cents, anyway.

All the best to you and yours, Al!

Thanks Arthur! Your description of what you like about those two string sets and how you dial in your Sterling sounded like what I would have said if asked. For me these on-line forums are most useful when you can find people who hear things similarly to you so you have a reliable data point when you want to learn something.

I truly appreciate you taking the time to provide those insights and I might try a set of boomers on the Sterling at some point. However, that powerful EQ and three way switch on the single H Sterling really seems to allow those Slinkys to give you almost any tone you like. If the Sterling with Slinkys has one weakness, it's that given the inherent balanced voicing I find it difficult to coax a naturally super full, deep low end - but can get close with EQ. At the end of the day though, it's a bass that sits well in a busy mix.

All the best - Al

 

[Arthur U. Poon]

Thanks Arthur! Your description of what you like about those two string sets and how you dial in your Sterling sounded like what I would have said if asked. For me these on-line forums are most useful when you can find people who hear things similarly to you so you have a reliable data point when you want to learn something.

I truly appreciate you taking the time to provide those insights and I might try a set of boomers on the Sterling at some point. However, that powerful EQ and three way switch on the single H Sterling really seems to allow those Slinkys to give you almost any tone you like. If the Sterling with Slinkys has one weakness, it's that given the inherent balanced voicing I find it difficult to coax a naturally super full, deep low end - but can get close with EQ. At the end of the day though, it's a bass that sits well in a busy mix.

All the best - Al

Anytime, Al. My pleasure.

I'd say the low end from the Boomers compared to Slinkys isn't a huge difference. Where I hear the greatest difference is in the high end. The Boomers have quite a bit less zing, and just a smidge more low mids.

Other than the low mids bump that Boomers have, I wouldn't doubt a well broken in set of Slinkys would sound really close.

Do you find your Sterling's sound to sometimes be too bold? I certainly do. But as you said, in a band mix, it somehow blends perfectly with the rest of the band, yet it's still really audible.

At one time I played in a trio where we really did our best to keep our stage volume down. I was always concerned when I used my Sterling that it might be "Too Much", but my bandmates loved it's sound and thought it blended perfectly. It was one of their favorites of the basses I brought to gigs.


Take care.

 

[Al Kraft]

Anytime, Al. My pleasure.

I'd say the low end from the Boomers compared to Slinkys isn't a huge difference. Where I hear the greatest difference is in the high end. The Boomers have quite a bit less zing, and just a smidge more low mids.

Other than the low mids bump that Boomers have, I wouldn't doubt a well broken in set of Slinkys would sound really close.

Do you find your Sterling's sound to sometimes be too bold? I certainly do. But as you said, in a band mix, it somehow blends perfectly with the rest of the band, yet it's still really audible.

At one time I played in a trio where we really did our best to keep our stage volume down. I was always concerned when I used my Sterling that it might be "Too Much", but my bandmates loved it's sound and thought it blended perfectly. It was one of their favorites of the basses I brought to gigs.


Take care.

When I first played the Sterling I too thought it had clear potential to be very "in your face" and almost passed on it. What I also noticed though is that it had a clarity, balance and projection that would allow me to play a bit more subtly yet still be heard well. The first gig I took it to I actually brought another bass in case the band felt the Sterling wasn't working - turned out they loved the Sterling and so did I.

Fortunately for me I learned very early in my bass career that I needed to focus on band mix tone/voicing and not so much music store demo or bedroom tone. The Sterling just seems designed to be able to carve out a unique spot in almost any stage mix. The biggest thing for me to learn was to lay back a bit, not overplay the instrument, and just let the bass carry the day. That learning curve reminded me of how a vocalist often needs to learn to move up close to the mic, relax a bit, and let the PA system do the heavy lifting.

The other thing I quickly noticed about the Sterling is that muting/damping of unused strings is essential. Despite being made of solid pieces of wood, the instrument seems to be unusually resonant and harmonically active. As soon as I would remove my hand from unused strings they seemed to just come alive. I learned good discipline and technique in this area from studio work so it wasn't an adjustment, just a surprise.

When I bought the Sterling I figured it was going to be just a rock band instrument, but have since learned that it can adapt itself to almost any style of music. All my friends who play it really seem to love it as well. Given that I had specifically gone out to buy a Stingray that fateful day, it's become obvious over time why a bass called the Sterling that I'd never heard of caught my attention and ended up as the model I left the store with.

...and that's how I ended up with my first set of Slinkys, and probably explains why I keep using them on that bass.

 

[Arthur U. Poon]

.....the instrument seems to be unusually resonant and harmonically active. As soon as I would remove my hand from unused strings they seemed to just come alive. I learned good discipline and technique in this area from studio work so it wasn't an adjustment, just a surprise.

When I bought the Sterling I figured it was going to be just a rock band instrument, but have since learned that it can adapt itself to almost any style of music. All my friends who play it really seem to love it as well. Given that I had specifically gone out to buy a Stingray that fateful day, it's become obvious over time why a bass called the Sterling that I'd never heard of caught my attention and ended up as the model I left the store with.

...and that's how I ended up with my first set of Slinkys, and probably explains why I keep using them on that bass.

As usual, spot on my friend!!

 

[klejst]

I have used D'Addario's .45-.100 Regular Light Gauge (pink pack) strings for all my Fender Precision and Jazz basses...they sound so good at least to me and work for what I need. Have not broke one yet and they are relatively inexpensive compared to others.

 

[lloganbracee]

Calling all pure nickel players!

I think it’s time this thread explores a bit of comparing & contrasting Fender Pure Nickels vs. GHS Balanced Nickels. Which do you guys prefer, on what basses do you have them loaded, & why?

 

[Kenova]

For me:

Peavey Patriot - very bright agressive sounding bass with that Super Ferrite single coil so I use ROTOSOUND NICKEL (50-110) to give some warmth, low end and tame highs.

Epiphone Thunderbird Classic Pro - very warm, growly with strong midrange and rounded highs so I use SS DUNLOP SUPER BRIGHTS to give more punch and some upper sizzle with some clank.

P bass - hollow, warm with strong treble so I use DUNLOP FLATS to tame highs, give creamy midrange, boost lows and to focus sound.

 

[Briton]

I have Flats on all of my Basses
EB Stingray 4.......EB Cobalt Flats
Fender Precision 4.......TI's Jazz Flats
Fender Jazz 4........EB Cobalt Flats
EB Bongo 5........EB Cobalt Flats.

 

[lloganbracee]

For me:

Peavey Patriot - very bright agressive sounding bass with that Super Ferrite single coil so I use ROTOSOUND NICKEL (50-110) to give some warmth, low end and tame highs.

Epiphone Thunderbird Classic Pro - very warm, growly with strong midrange and rounded highs so I use SS DUNLOP SUPER BRIGHTS to give more punch and some upper sizzle with some clank.

P bass - hollow, warm with strong treble so I use DUNLOP FLATS to tame highs, give creamy midrange, boost lows and to focus sound.

The reason I’ve never been interested in getting Precision is for that exact reason (it sounds hollow for the most part & almost needs a set of flats to focus the sound).

 

[James Collins]

I like tapewound strings on fretless instruments to prevent scratching the fingerboard.

 

[Kenova]

The reason I’ve never been interested in getting Precision is for that exact reason (it sounds hollow for the most part & almost needs a set of flats to focus the sound).

I love it just for that, it has some kind of “pillow” characteristic ro hug everything together.

 

[lloganbracee]

I love it just for that, it has some kind of “pillow” characteristic ro hug everything together.

I get the draw. It’s a very distinct sound. It’s great, just not for me (unless it has a set of Deep Talkin’ Labella’s on it, which is awesome but limiting).