Jake deVilliers
Commercial User
- May 24, 2006
- 6,349
- 607
- Disclosures
- Owner of The Bass Spa, String Repairman at Long & McQuade Vancouver
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Double Bass Tone Shims Under Bridge Feet
- Thread starter skychief
- Start date
I agree that a a new set of strings is more expensive than $8.
But Corelli strings from the 370 series are really bright, so a different set of low tension strings (there are others) might help you with the sound.
For a new set of strings (next time you need new strings) I would recommend low tension synthetic core strings. Innovation 140BS (Braided Solo) tuned down to orchestral tuning comes to my mind. Even the normal 140B (orchestral tuning strings) are low tension, so if the 140BS is too flabby you might even want to try the normal set. Even on my 109cm scale the tension is rather low.
Maybe Kolstein Heritage is another candidate, but I ever tried them myself. A third choice is SuperSensitive Sensicore, the orchestral set is low tension, I'm not sure if they make a Sensicore solo set.
All these sets are not expensive (if you order the Innovations from a UK reseller like StringExpress).
Synthetic core strings are nicer to the hands, because the higher strings diameter is a bit larger than with steel strings.
With the cork, you not only cut the highs from the G and D, but also from the E and A. I could imagine that the lower strings might sound a bit too dark that way. Also you might get back some more power with strings that don't need the cork shims.
Your carved bass might have a thick top, made for high tension strings. Then lower tension strings don't shake the top like higher tension strings and the bass sound less than optimal and closer to a plywood than a good carved instrument. But you cannot change that, if your hands need low tension strings, without major and expensive changes to the instrument.
But Corelli strings from the 370 series are really bright, so a different set of low tension strings (there are others) might help you with the sound.
For a new set of strings (next time you need new strings) I would recommend low tension synthetic core strings. Innovation 140BS (Braided Solo) tuned down to orchestral tuning comes to my mind. Even the normal 140B (orchestral tuning strings) are low tension, so if the 140BS is too flabby you might even want to try the normal set. Even on my 109cm scale the tension is rather low.
Maybe Kolstein Heritage is another candidate, but I ever tried them myself. A third choice is SuperSensitive Sensicore, the orchestral set is low tension, I'm not sure if they make a Sensicore solo set.
All these sets are not expensive (if you order the Innovations from a UK reseller like StringExpress).
Synthetic core strings are nicer to the hands, because the higher strings diameter is a bit larger than with steel strings.
With the cork, you not only cut the highs from the G and D, but also from the E and A. I could imagine that the lower strings might sound a bit too dark that way. Also you might get back some more power with strings that don't need the cork shims.
Your carved bass might have a thick top, made for high tension strings. Then lower tension strings don't shake the top like higher tension strings and the bass sound less than optimal and closer to a plywood than a good carved instrument. But you cannot change that, if your hands need low tension strings, without major and expensive changes to the instrument.
Congrats on your success! Glad it worked for you.
Those are one and the same here. You've apparently diminished the transfer of energy corresponding to those harmonics. You have reduced the transfer of that vibrational energy.
There's a bit of an echo in here (see posts #18 and #19).
Glad you agree. I don't think it's violating a confidence to say that skychief told me via PM that he had tried many sets of different strings and settled on the Corellis for reasons I'll leave him to reveal if he wishes. I don't know whether he tried the strings you mentioned and I certainly did encourage that he do so. Beginning with a set of strings that doesn't have the characteristics he's trying to reduce would seem a more optimal path than damping down a set that does. In any case, it seems he's happy so there you have it.
Those are one and the same here. You've apparently diminished the transfer of energy corresponding to those harmonics. You have reduced the transfer of that vibrational energy.
There's a bit of an echo in here (see posts #18 and #19).
Glad you agree. I don't think it's violating a confidence to say that skychief told me via PM that he had tried many sets of different strings and settled on the Corellis for reasons I'll leave him to reveal if he wishes. I don't know whether he tried the strings you mentioned and I certainly did encourage that he do so. Beginning with a set of strings that doesn't have the characteristics he's trying to reduce would seem a more optimal path than damping down a set that does. In any case, it seems he's happy so there you have it.
Perhaps a shim works similar to a wolf tone eliminator by adding/subtracting resonant frequencies? As a test I attached a very small C clamp onto my bridge in various spots to see what happened. It did alter the sound/tone noticeably, it has been some time so I can't remember exactly. I suppose one could attach weights to the bridge etc to alter the frequencies. EB's have weights that can be attached to the headstock to eliminate dead spots. I actually like the sound of my bass w/the bridge mute it has a deeper, woodier sound - obviously not as loud
Of course, these statements are true. Honestly, Id much rather have a comfortable set of ultra low tension, dark sounding strings than the cork tone shims thing,, but im so tired of spending alot of time and money test-driving different string sets only to be disappointed in the end.
But I may give the string set that DoubleMIDI suggested (Innovation 140BS) a go. If and when these Corellis wear out. or when the cork shims flatten from years of extreme compression.
I'd say Bel's are medium light. Or light medium. Overall, the set tension is between Spiro 3885W and Doms, with a lighter E string.
I am of the school that string tension is not as much of an issue as is getting a really good setup on the bass. If the lightest possible strings are 15mm off a fingerboard with too much scoop and high nut slots, it's still going to feel harsh, no matter what. String tension is a means to an end as one aspect of getting the feel a player wants, and an idea of how the set will be driving the top. But it's a small aspect compared to setup: nut slot geometry, fingerboard arc and scoop, bridge, afterlength, soundpost, etc.
But with lighter strings and a good setup for them and a bit thicker strings you can play much longer if you have problems with the hands than on medium or higher tension strings. Also strings that stretch more easily with string elongation (because of fingering) like some braided synthetic cores are easier to the left hand (at least).
With a high action you need more string elongation because of fingering, so in higher positions (where this gets more extreme) a high action is hard to play on any string. But strings that stretch a bit easier (most braided synthetic core) could be played easier on the same action than strings that don't stretch well (like massive steel core strings).
If the action is very low the strings are hard to pluck (depending on pizzicato style), so a low tension string may need a bit higher action to avoid buzzing (or not, it depends on the string) but might be easier to pluck (for some players) than ultra-low medium tension steel core strings. It depends on the player and the strings.
With a high action you need more string elongation because of fingering, so in higher positions (where this gets more extreme) a high action is hard to play on any string. But strings that stretch a bit easier (most braided synthetic core) could be played easier on the same action than strings that don't stretch well (like massive steel core strings).
If the action is very low the strings are hard to pluck (depending on pizzicato style), so a low tension string may need a bit higher action to avoid buzzing (or not, it depends on the string) but might be easier to pluck (for some players) than ultra-low medium tension steel core strings. It depends on the player and the strings.
More results to share:
The cork shims have very little effect on the tone from the (PolyTone) hybrid piezo/mic pickup. I shoud have anticipated this since the piezo element is wedged into a slot in the bridge itself. I rarely if ever use the mic half of the pickup due to feedback issues.
So, the cork shims are only effective when playing acoustic.
ugh.. back to sqaure ONe.
The cork shims have very little effect on the tone from the (PolyTone) hybrid piezo/mic pickup. I shoud have anticipated this since the piezo element is wedged into a slot in the bridge itself. I rarely if ever use the mic half of the pickup due to feedback issues.
So, the cork shims are only effective when playing acoustic.
ugh.. back to sqaure ONe.
I guess you'll get about 20 o-rings for a dollar...
But no kidding, try a few differently sized rubber rings to dampen the higher harmonics at the source. Is cheap.
They affect mainly the higher frequencies because those have a shorter wavelength, so that their belly will be much closer to the rubber; the base note and the first couple of harmonics will be hardly affected.
But no kidding, try a few differently sized rubber rings to dampen the higher harmonics at the source. Is cheap.
They affect mainly the higher frequencies because those have a shorter wavelength, so that their belly will be much closer to the rubber; the base note and the first couple of harmonics will be hardly affected.
