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The Fifths Tuning Club
- Thread starter ~M.o.M~
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Update: Since December of last year I've strung up my sixer in fifths (CGDAEB) and my fiver in B standard. I've since returned the sixer to fourths (BEADCG) and switched my fiver back to fifths (CGDAE). As fun as it was having nearly five octaves at my fingertips, there were a few things of note that pushed me to make the switch:
A fiver in fifths still has a huge range (almost as much a seven string in fourths!), so it's not that much of a range downgrade.
- The glaring difference in sound output between the strings, even after messing with pickup heights. A multiscale might help mitigate this but I can't justify myself splurging on an Ibanez EHB (let alone a Dingwall!) anytime soon.
- My fifths-tuned ukulele project has found more success with a tenor uke tuned in viola/mandola CGDA and a concert uke tuned in violin/mandolin GDAE. I find that the high notes are more pleasing to my ear on acoustic nylon strings than on electric steel (or nickel or whatever) strings.
- And most importantly of all! Both basses had a dead string, so it was high time for a restringing regardless.
I've been messing with my bass vi and I've found it works better when you think of it as 3 sets of 4 strings when thinking of lines, the output is fairly even for me with the exception of the high B I'm thinking of bumping up the plain steel string gauges a little to help.
If anyone wants to try the Lenzner 5ths for 5-string, pm me, i think im passing mine on. Very little use, unclipped ends i believe.
I have them on my NS Omnibass, per their design. Honestly needs more eval, but Im not sure I need another instrument in 5ths.
I'm confused!
First, doesn't a Uke bass use a special kind of string that's actually a rubber or rubber-like elastic, not a "standard" string, and therefore only a fifths set of Uke bass strings will do?
Second, if there is a fifths set out there, it's usually CGDA (4-string) or CGDAE (5-string). Tossing the E from a five-string set would be a waste of money, just buy a 4-string set. Which makes me wonder if you meant "tossing the "C," as in, using the high four strings of a 5-string set GDAE, which would be something akin to making a contrabass violin instead of a contrabass cello?
I'm guessing they meant the E from a 5-string set in fourths (BEADG)? Then for CGDA, I'm guessing it would be
- B up to C,
- A down to G,
- D stays the same, and
- G up to A.
I told you I was confused. This makes more sense than some weird GDAE tuning. @Will_White, I shouldn't have doubted you.
Speaking of CGDA vs. GDAE, after messing around with both tunings in 3 octaves, I prefer CGDA every time! 
Also, I was only a Google search away from finding out about the existence of 5 string uke basses: Kala Sub U-Bass 5-String Review
Also, I was only a Google search away from finding out about the existence of 5 string uke basses: Kala Sub U-Bass 5-String Review
Speaking of CGDA vs. GDAE, after messing around with both tunings in 3 octaves, I prefer CGDA every time!
I wonder if you could elaborate just a bit on this (I presume you're meaning C1-A2 vs. G1-E3). I personally found G1-E3 more practical for melodic solo playing.
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Not having a bass tuned G1-E3 (yet) I've found C2-A3 to be better for chords then the top strings of my C1-A2 instruments.
That makes sense. I happen to be more focused on solo melodic lines (e.g., Bach, etc.) than chordal playing, and I've found that G1-E3 helps me to retain note definition and clarity while still sounding more like a bass than, say, a baritone guitar.
I also play Bach on my bass (badly). I was using fourths tuning A1-D2-G2-C3 on an ABG, I tried to play some of the first cello suite at pitch. That seemed to suit the limited resonance of an ABG.
I'm now using fifths tuning C1-G1-D2-A2-E3 on an Omni Bass, and since it's amplified... I'm playing it transposed as the Gods of Violoni intended. I suppose in theory I could get strings tuned C2-G2-D3-A3-E4 like a five-string cello, but I strongly suspect it would be easier to just get a cello and not have to deal with each position requiring a 25% larger extended spread.
All that being said, I'm a complete duffer, so no matter what I do, time playing is good, time dreaming about playing, not-so-much.
Maybe what I really meant to say was that I could get by without any of the GDAE's by having CGDA in three octaves (C1-A2, C2-A3, C3-A4), save for violin GDAE (G3-E5) of course. For regular bass playing C1-A2 wins out. G1-E3 is good for melodies and chords, but I found C2-A3 to be even better for that! On my fiver tuned C1-E3 I can get C2-A3 on the four highest strings by putting a capo on the fifth fret.
That said the "intermediate" GDAE's (G1-E3 and G2-E4) are unique ranges that don't quite fit into pre-existing molds, and are worth keeping for their own sake. The Bach cello suites sound quite refreshing on them: rich and deep on G1-E3, clear and bright on G2-E4.
Random observation:
I tried a multi-octave chromatic scale this morning. For fingering, on each string I used 0pen-1-2-3 in what I tell myself is "half position," followed by 1-2-3 in what I tell myself is "second position."
It feels oddly satisfying to use the exact same fingering in two positions per string.
I expect this is extremely old-hat to most musicians. But isn't that the joy of switching tunings? Rediscovering what it feels like to be a beginner discovering how this fit together?
I tried a multi-octave chromatic scale this morning. For fingering, on each string I used 0pen-1-2-3 in what I tell myself is "half position," followed by 1-2-3 in what I tell myself is "second position."
It feels oddly satisfying to use the exact same fingering in two positions per string.
I expect this is extremely old-hat to most musicians. But isn't that the joy of switching tunings? Rediscovering what it feels like to be a beginner discovering how this fit together?
I posted in the Short Scale Club about tuning short scale basses in fifths using standard short scale string sets + a standard long scale high C string. Maybe some here might find it useful: The Official Short Scale Bass Club -- Part 4
A question for the fifths club - I’ve recently decided to tune in fifths on my short scale to get the extra range. I’ve so far experimented with nickel rounds, flats and tapes. Do most of you find flats and tapes are easier to work with due to a lot of the fretting hand moving up and down the neck frequently? Rounds tend to be grabby and finger squeaky…
