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tight or floppy B-string

hi, first post here on the Luthier's forum

What constructive practices contribute to a great, tight B-string ?
Conversely, what causes a B-string to be floppy ?


Background to the question: I have a bolt-on 5-string 34" scale bass which plays great. The workmanship appears to be excellent, with a tight fitting neck pocket.
However the B-string is vague and mushy.

What should I look out for?

Any suggestions? :help:
 
"What constructive practices contribute to a great, tight B-string ?"

Longer scale lengths make the low B feel tighter.



Also as with boo-teek instrument builders, pickup builders, etc, there have also sprung up a small but dedicated group of people that make hand wound strings. You should contact one of them and ask them for a thicker core with smaller wrap wire to make up the low B. That will also give much more tension without having to move to a much thicker string.
 
The string lengths beyond the nut and the witness point on the bridge won't affect tension, but they will affect feel, especially if the string is allowed to move in the nut. You can press slightly on the bit beyond the nut while holding a note and hear it in action.

I believe a very stiff construction will allow more energy to remain in the string, improving sustain and perceived "goodness"
 
Interestingly enough, I had my best experience with a 5'er when I played an Ibanez ergodyne. The B was a good tension and didn't feel like a floppy mess every time I plucked it. I've also picked up basses over $1k and the B string has been atrocious.

I'm interested to see what they have to say as well...definitely subscribing to this one
 
thanks for your replies.

So I do take it that there is basically nothing one can do about a mushy B-strings other than experimenting with strings for some minor improvements ?

@ DerHoggz - thanks for that link. Would have never thought of that search term :cool:


Has anybody else got a link to read up on the subject ?
Would love to understand more on the why's - kind of a follow up on Sheldon Dingwalls explanations.
 
AFAIK, it's a combination of scale, string type/gauge, quality of construction and pickups & the amp.

Scale: the longer the better.

String type/gauge: thicker strings are less floppy, but their construction is also important. D'Addario Chromes come in mind: their B is very, very tight. On 34" I wouldn't play any other.

Quality of construction: let's face it, some 34" basses have a better low B than some 35" basses. The difference? Quality hand made instruments vs. regular instruments.

Finally, pickups and the amp. I've realized that playing my Dingwall with different amps: some produce a clearer, better sound with quicker response than others. Pickups are just as important. With Dingwall, both FD-3 and SF pickups have been improved over time: one of the goals was to produce a better low B. So pickups have gotta be an important factor. However, which pickups will give you the better low B, I don't know. A warbly string will produce a warbly sound no matter which pickups you use.
 
I hate this argument that longer is better. I have seen 32" and 30" scale instruments that the B-string was just huge. I have also played 35" scale basses that were absolutely horrid. As far as the answer, ask a pro. I'm just a wood guy.
 
Sorry I'm with Sheldon on this one and why I like fan design, it is truly all in the length. I suppose it could be made up for with string gauge and that should be provable in application since all the low F# strings are at what 150 + or so, those I would expect to tighten up a shorter scale low b. I've been playing 6ers for a while, and to me 36 and up is where it's at for a tight B and regular gauge strings.
Good luck on your quest. Experiment yourself rather than take the word of others, seriously just do it.:bassist:
Dirk