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Tuning BEAD: A Difficult Sacrifice or Good Riddance?

#61
Kwesi said:
I've always wondered how four string players feel about BEAD. Not whether it's necessary or not but how much you miss the G string in doing so? I know I'd be distraught without all four "primary" strings. So do you guys miss the G when it's gone or is it not that big a deal?
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azzyrazzy said:
Yes! Been thinking the same thing now for a few months. Worried that I can't adjust to transposing songs etc on the fly in a band situation.
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I originally started playing on a Fender Standard Jazz (20 fret) tuned EADG, but didn't use the G and wanted to hit the lower notes, especially those songs I played that were in the key of D or Eb.

So I started out by tuning it down a full step on all strings (DGCF), but found transposing on the fly a bit more difficult due to finger positioning, etc. This was especially difficult when I used to also play a 5-string (BEADG) during that same period--going back and forth wasn't pretty!

So when I sold both of those and went with my current rig (Fender Aerodyne Jazz, 4 string, 20 fret--I like the thinner neck of a 4 string Jazz), I stuck with the BEAD tuning and have never looked back. I don't usually play anything lower than the low D or Db, but it keeps my EAD string notes on the standard frets and I like that all the strings are still a fourth apart from each other.

You can't really tune down from EADG to BEAD due to loss of string tension... you need to get thicker strings. Although I could go with the thickest 4 strings of a 5 string set, I go with my own custom blend of string diameters for 2 reasons: I like balanced string tension (hated that tight D string!), and light action. I like D'Addario Flatwounds and used the string tension guide on their website to determine my mix:

I use a D'Addario Flatwound Chrome 132 for the B (bought separately) and the EAD strings from a pack of D'Addario Flatwound Chrome ECB 80 (95-75-60). This makes all my strings in the mid to upper 30s lbs of tension (this is good for my style--I don't slap/pop). Just a slight file of the nut grooves, a minor saddle height adjustment, and a teensy truss rod adjustment due to the lower overall neck tension and I was set.

So, do I miss the G string?.... What's a G string?...:)
 
#63
TapyTap said:
Have you ever considered tuning in perfect fifths?


C1 G1 D2 A2 (One octave below standard cello tuning)
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This would make a ton of sense--there are a few pretty famous double bassists who do/have done this, and it's certainly more troublesome on double bass than it is on bass guitar. It would just call for a complete change in thinking (I tried it on double bass for a week, and it made my brain hurt--everything is backwards!--so I switched back).
 
#65
Kwesi said:
I am honestly surprised by the answers here, lol. I thought that begrudgingly tuning to BEAD was the norm but it seems like most of you guys dig it, very cool :). Glad to know it isn't all suffering :p.
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Not at all suffering. I occasionally use the G, but I would probably never use it in the band I mainly use the BEAD tuned bass for. I hardly even use the D in that band. Plus, my Peavey sounds so good in the BEAD tuning, I should have done it years ago.
 
#66
Jester's Fury said:
When I jumped from a 4 to a (BEADGC) 6, I used my 4 string as a backup tuned BEAD. For the band I was in, I needed the full range of my 6, but I could fake it if need be my 4.

The 4 also helped me learn how to make use of the B string. Ex. I could stay in this tuning (on the 6) while the guitard fiddled with alternate tunings. Sort of trained my ear vs. my eyes. I even bought a couple of capos to mess around with too. I then tuned the 4 ADGC to learn how to use the C in chords and upper range solo work.

I'd gladly go back to the BEAD tuning if a band called for it. To me, it's pretty much the same "range" of notes. I could probably go lower, but I don't find it tasteful even with my "dog ear".

Just go with whatever sits in the mix..... Everybody can't be playing the same thing or stay on the same frequencies... it will come out a mess.

Semi Related: Bryan Beller tunes half a step up from the Low B. Check it out.
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Dog ear? Dogs have greater hearing range than we do, but it's pretty much all in the higher frequencies. If memory serves, they can only hear down to 40hz.
 
#67
IngerAlb said:
That might have more to do with the player's technique rather than the bass itself and on the other hand not many rigs can handle those low notes that well...
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I mentioned I've not heard a low F# that I liked. That video, which I've seen before, definitely didn't change my mind, no offense.

And indeed, most rigs don't handle that sort of thing very well. I imagine few would handle anything below B very satisfactorily.
 
#70
ric3xrt said:
I was doing this for a bit (DGCF) I just used a capo on the 2nd fret, when I needed EADG , when we did the deeper songs just took the capo off.
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Thanks for this insight, for some reason I couldnt solve this myself, I love this tuning but the thought of transposing everything standard to it seemed like a big undertaking. For my original riffs the D standard is where I can really get my groove, throw a capo on and take care of the rest.

Anyone have any downsides to this???
 
#74
Willem said:
I've never tried it, but don't capo's require tuning every time you put one on or take it off?
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You want to maybe check when you put it on- the position of it between frets 1 and 2 needs to be just so.

I use an A/B box, have an EADG and a BEAD bass both plugged into it. I switch for tunes that require one or the other bass- I'm pretty quick at it now.

I'm also kicking in a BBE "Boosta Grande" for the lower output bass of the two(MIM Precision), for the sake of the FOH mix. That's the BEAD bass... the standard is a Hamer Cruise (83) with an EMG preamp in it.
 
#75
Sartori said:
How well do capos work on bass?
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They work decent if your crowd isn't too too picky. Imagine fretting the first fret on your standard tuning. It's going to be a little sharp if your nut is too high.

A capo pretty much does the same thing by making the fret in front if it your "zero" fret. It may be slightly sharp if the Capo isn't even and parallel with the fretboard due to too much tension.

I have used them occasionally on my 6 string TRB. In fact, I used to use 2 Kaisers. One for the lower strings and one for the higher strings. I never changed their position mid song tho.

**Another Thought**

As for Sub B string tunings, didn't TB's very own Jauqo III-X have a bass tuned with a low F#? It was meant to be felt, but I don't think you could hear it. I'll look it up later.
 
#80
When you think about it, the only thing a low B string does is give you a total of 5 notes that are an octave lower than you would have if tuned to E. I played a 5 string for many years. The low B was nice but you could feel it more than hear it. There really wasn't any clarity to it.

The following was taken from Gene Simmons website. It sums up how he feels about 5 string basses and the low B:

Gene:

I've always seen you perform with four-string basses. A friend of mine who's been a professional musician and plays the bass talks about how his dream bass is a five-string and how it has one string lower than the four-string. Was wondering if you've ever used a five-string bass and if you just prefer four strings.

Best,

Rick



Response from Gene:

It's a waste of time. You can't hear the low bass string and it's strictly musicianitise (a rare disease that hits musicians -- the symptoms include a delusional notion that the masses care about double neck guitars or 5 string basses. In all seriousness, if your friend likes it, I say do it. But, it won't put a single dollar more in your pocket.
 

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