Tried 30-50-70-90

[600 Ohms]

Agreed. I have gone even lighter to .028 - .075!

You're a mad lad. That's nearly no strings at all.

On the strength of your post, and my boredom, I tried a set. I love 'em. I'm finally doing the bending harmonics that I have heard from Stanley Clarke and Mark King. It's awesome. I'll probably saw through the nut.

But you're right - they're a blast to play on.

Thanks!

Nice—looks like I won the internet today! I'm now officially an "Influencer" Glad to know somebody else surrendered purely on my account. It's true, every time I bend, I look at the nut and cringe a little bit at the thought of the torture I'm putting it through. So much fun. Pack of 35s coming.

Speaking of Mark King, horrible to hear about poor Boon Gould today. Very sad indeed. He was a MF.

 

[600 Ohms]

I did something similar with 40...95 gauges. The low end is even more present, as higher harmonics are less prominent.

Diminishing the higher harmonics is a fringe benefit of the lighter-gauge string; my technique is such that I generate a lot of different harmonics between my two plucking fingers and it drives me up the wall.

 

[bdplaid]

It's true, every time I bend, I look at the nut and cringe a little bit at the thought of the torture I'm putting it through.

I'm readying the baking soda and CA fix as we speak. :-}

 

[bass12]

Around five months ago (I'll admit it was after seeing some Level 42 concerts) I put on a set of DR Pure Blues 40-120 thinking I'd probably end up realizing I'd made a mistake and would swiftly revert to my usual 45-125s. I haven't taken them off since (other than to boil them). I much prefer the tension and sound of this gauge - for both fingers and slap. Less muddy but still plenty of low end and the strings are staying brighter longer (which is great because I tend to kill strings super quickly). I don't see myself ever going back.

 

[bdplaid]

I've tried 40-100 a few times in the past, and just didn't like them. The 30-90 roto set seems completely different to me. Playing something this light is just a different animal, one which I like and am adopting.

 

[shoulderpet]

Correct. The approximate rule to acheive equal tension on 2 strings tuned a fourth apart and with the same scale length is:
'Gauge multiplied or divided by 1.335 (roughly 4/3) going from string to adjacent string.'
I've derived this by working through the physics.

Cool, what about short scale 30" ?

 

[HaphAsSard]

Cool, what about short scale 30" ?

The 1.335 factor across strings for perfect fourth tuning is of course valid for any scale, for costant-scale (parallel fret) instruments. I'm assuming you're asking how to derive tensions for 30" scale when you only have tension figures at 34". The factor in question is the ratio of scale lengths (the new, target one, and the one you have tension figures for), squared. In other words:
if you know the tension that a specific bass string has, at a given pitch, at 34" scale and want to know how it (or a string of identical construction, only wound shorter, which has then the same mass per linear inch a.k.a. "unit weight") pulls when installed on a 30" bass and tuned to the same pitch, you have to multiply it by (30/34)^2=0.7785467(etc.).
Let's say a string has 41.00 lbs of tension at 34": that same string has 41 x 0.7785467 = 31.9204147 lbs of tension at 30", when tuned to the same note.

^ I know the above thanks to @ixlramp bothering to explain it in a couple past posts.

 

[600 Ohms]

The 1.335 factor across strings for perfect fourth tuning is of course valid for any scale, for costant-scale (parallel fret) instruments. I'm assuming you're asking how to derive tensions for 30" scale when you only have tension figures at 34". The factor in question is the ratio of scale lengths (the new, target one, and the one you have tensions figures for), squared. In other words:
if you know the tension that a specific bass string has, at a given pitch, at 34" scale and want to know how it (or a string of identical construction, only wound shorter, which has then the same mass per linear inch a.k.a. "unit weight") pulls when installed on a 30" bass and tuned to the same pitch, you have to multiply it by (30/34)^2=0.7785467 etc.
Let's say a string has 41.00 lbs of tension at 34": that same string has 41 x 0.7785467 = 31.9204147 lbs of tension at 30", when tuned to the same note.

^ I know the above thanks to @ixlramp bothering to explain it in a couple past posts.

I've got such a science crush on you nerds. I love this place.

 

[Root 5]

You're a mad lad. That's nearly no strings at all.

 

[EatS1stBassist]

I've tried 40-100 a few times in the past, and just didn't like them. The 30-90 roto set seems completely different to me. Playing something this light is just a different animal, one which I like and am adopting.

Love my Funkmasters!

 

[ixlramp]

Cool, what about short scale 30" ?

The 1.335 factor across strings for perfect fourth tuning is of course valid for any scale

Correct.

 

[bdplaid]

The 1.335 factor across strings for perfect fourth tuning is of course valid for any scale, for costant-scale (parallel fret) instruments. I'm assuming you're asking how to derive tensions for 30" scale when you only have tension figures at 34". The factor in question is the ratio of scale lengths (the new, target one, and the one you have tension figures for), squared. In other words:
if you know the tension that a specific bass string has, at a given pitch, at 34" scale and want to know how it (or a string of identical construction, only wound shorter, which has then the same mass per linear inch a.k.a. "unit weight") pulls when installed on a 30" bass and tuned to the same pitch, you have to multiply it by (30/34)^2=0.7785467(etc.).
Let's say a string has 41.00 lbs of tension at 34": that same string has 41 x 0.7785467 = 31.9204147 lbs of tension at 30", when tuned to the same note.

^ I know the above thanks to @ixlramp bothering to explain it in a couple past posts.

Jesus, you are a math geek!

 

[singlemalt]

The GHS Boomer extra lights finally showed up. A snafu at the post office delayed delivery. Fret Nation was prompt to ship, as always.

Anyway, they actually run .090-.030. And they only work on 34” scale. Just a tad short for my 35” Peavey Cirrus.

They’ll go on the Dingwall Super P.

The 35” boomers are a .040 G string. I’m happy with my DR Pure Blues at that gauge.

Still, just $20 to try the extra light Boomers. I ran .030 for C strings on my E-C setups.

Hope to get it restrung and set up in the morning. I’ll report back.

 

[600 Ohms]

Been enjoying 40-95 this week. I barely notice a difference in tension (from 45-105) apart from less effort required and slight bendability. 35-95 waiting in store for when I'm ready for a new adventure.

 

[Sid the Kid]

This thread inspired me to try a super light set for BEAD tuning. I slapped a fresh set of 55-115 DR DDTs on my trusty Dolphin and I am so impressed with the feel and sound.

Having a more supple string also seems to make the bass have less volume difference due to hand placement. It’s great to get the extra string movement when playing by the bridge, and tapped notes vibrate and sing without a ton of effort.

I wish I didn’t wait so long to try a light set. TI flats dipped my toes in the supple feel waters. I’m diving in now.

 

[singlemalt]

Very much enjoying the 30-90 nickel Boomers on the P.

Super responsive. Awesome fun for slap. Great finger style.

I need to lighten up even more on the right hand touch, but that’s been the goal all along.

Finding the key to slap is a super light touch. Cool stuff starting to happen...

 

[JazzCrazy]

On Facebook Bunny Brunel told me he uses LaBella Hard Rockn Steels 85-30 his whole career*. A few weeks ago he posted a photo of his new signature 5 string fretless. I first asked if the FB was ebony & he replied yes. Then I asked what the B strings gauge was. He replied 100 (!)

I use Hibeams 40-100 on.my Marcus Miller bass. It seems I need more string tension to double thump (to use the "bounce" of the pick guard, when double thumping the g string, as a reference. But I guess I should try it.

I am getting disgruntled having to always play with my midrange setting to make my Hibeams robust sounding. I don't know how 30-90 would sound.

* Brunnel posted a YouTube slap video #7: "Pulling strings to Simulate a Slap Sound". In it he imitated Stanley Clarke's Vibrato. I posted the link, tagged him, - publicly inquired how he does it. He PMed me that he uses 85 65 45 & 30.

 

[600 Ohms]

He PMed me that he uses 85 65 45 & 30.

I can vouch. I used to take lessons from him around 1992-93.

 

[JazzCrazy]

Very much enjoying the 30-90 nickel Boomers on the P.

Super responsive. Awesome fun for slap. Great finger style.

I need to lighten up even more on the right hand touch, but that’s been the goal all along.

Finding the key to slap is a super light touch. Cool stuff starting to happen...

I just tried markedly loosening the tension of my Hibeams, & I could double thump faster

Tell me, do you find that those 30-90 gauge Hibeams are less scooped in timbre (requirg less of a midrange boost?)

 

[singlemalt]

Sorry, I haven’t tried the high beams, just the Pure Blues. I really like the Pure Blues, but 95-40 VW’s are the lightest set. Very nice on my 35” Cirrus or the Dingwalls. They are just long enough for the four string, longscale Dingwall AB1. Great on the Super P as well.

I’ve got a couple sets of nickel Low Riders .040, I’ll be trying on the longscales.

The 90-30 set I just installed are GHS Boomers, and they are darker sounding than the Pure Blues. I really like these on the Super P, the G string is only 32”.

I’m tempted to try the rotosound funkmasters, even though I know I don’t get along with stainless steel.

I also want to try the TI jazz rounds. Love the TI flats.