Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Who needs five strings??!
- Thread starter FishDub
- Start date
I don't want to play 5-string basses. However I don't want to miss that G string either. Therefore my tuning is C#,F#,C#,F# and I couldn't be happier.
I've always wanted a 5 string and have had a few but have never fully committed to the switch. Most of the music I play that requires a lower extension doesn't go below the 'D', so my Kubicki covers that nicely. Still, I acknowledge the difference in tonality and economy of motion with that low 'B'. I have a cheap Squier VMP5 that seems nice enough to dabble with when the mood hits.
When it comes to bass, I go by One Bass To Rule Them All/There Can Be Only One. I want one bass to do everything I need. That's why I have a 5-string. I'd rather not have two basses in different tunings.
This Drop C Hipshot idea sounds interesting. What gauge string do you use? After you drop it to C can you tune it lower to B? Can you tune the E to a D and still leave the 2-step drop intact? I had a Hipshot drop tuner before but I don't remember if the string could be tuned differently without screwing up the original drop that's set up.
This Drop C Hipshot idea sounds interesting. What gauge string do you use? After you drop it to C can you tune it lower to B? Can you tune the E to a D and still leave the 2-step drop intact? I had a Hipshot drop tuner before but I don't remember if the string could be tuned differently without screwing up the original drop that's set up.
I need one. I work as a sideman. I promised myself I wouldn't make the move until it became necessary. IF Stanley, Jaco, and so many others got by on a four then why couldn't I?
For me, the five became necessary.
Most show stuff and just about everything out of Broadway that has an electric part is written for five string these days. Seems like it would be hard to do without one without one if that's where your bread and butter is earned.
I was politely told that I needed to show up with a bass that covered the parts I was being paid to play. Simple as that.
The upshot is that I am starting to like having that low B on board. It is also nice to be able to do more things without shifting as much. That fifth string offers more than just low notes. That was kind of an epiphany for me.
I still have a fretless four, love it but the five is in my arsenal to stay. It is the right tool for certain jobs that require it.
For me, the five became necessary.
Most show stuff and just about everything out of Broadway that has an electric part is written for five string these days. Seems like it would be hard to do without one without one if that's where your bread and butter is earned.
I was politely told that I needed to show up with a bass that covered the parts I was being paid to play. Simple as that.
The upshot is that I am starting to like having that low B on board. It is also nice to be able to do more things without shifting as much. That fifth string offers more than just low notes. That was kind of an epiphany for me.
I still have a fretless four, love it but the five is in my arsenal to stay. It is the right tool for certain jobs that require it.
Last edited:
I switched to V recently this year, the main reason of the switching was I got tired of retuning my bass to Eb, as my guitarists, and then tuning it back to E for class studies.
That complicated a few songs but gave me new options in vertical play and lower notes which I sometimes use.
I also had to change my right hand technique to floating thumb for better muting purposes, I'm still adjusting and I don't see myself playing 4 anymore, thanks to floating thumb I got a better control over my sound, less noise and fluid switching between strings.
That complicated a few songs but gave me new options in vertical play and lower notes which I sometimes use.
I also had to change my right hand technique to floating thumb for better muting purposes, I'm still adjusting and I don't see myself playing 4 anymore, thanks to floating thumb I got a better control over my sound, less noise and fluid switching between strings.
I wasn't going to comment, but....
As a lead vocalist I find playing the 4 is just more intuitive for me. Probably because I didn't get my first 5 string until I had been playing for 25 years already, so I have a lot more hours logged on the 4. In my work I rarely need to go below the D on my hipshot, and that's usually to cover synth bass lines on pop tunes. So why not just have the keyboard player take those, right? And for most of my work that low end material isn't heard so much as it's felt - and that's only if FoH and the gods are kind. On stage it just kind of muddies the mix. When I am playing for myself, then I'll break out my ten string
Peace
As a lead vocalist I find playing the 4 is just more intuitive for me. Probably because I didn't get my first 5 string until I had been playing for 25 years already, so I have a lot more hours logged on the 4. In my work I rarely need to go below the D on my hipshot, and that's usually to cover synth bass lines on pop tunes. So why not just have the keyboard player take those, right? And for most of my work that low end material isn't heard so much as it's felt - and that's only if FoH and the gods are kind. On stage it just kind of muddies the mix. When I am playing for myself, then I'll break out my ten string
Peace
I don't need to play a 5 string, but I like to. I like being able to go as high as a 4 string, but also shake some chairs with that low B string. It also makes it much easier to play things in the middle of the neck. Less movement for my left hand.
If your work requires you to have one than thats just part of doing business, I have read that Will Lee has a Sadowsky V for studio work but is really not a fan of them, but its how he makes his living and its a tool that is required these days as lots of modern music is written for a five. I've found a low D is about as low as I want to go, it gets that sub low sound but still has some definition, below that things start to get flabby and muddy sounding
I agree. Set up most basses EADG and some at BEAD and you are set. I tried the 5er route also. Each to his own.
