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Why do SHORT SCALE bass string sets have LIGHTER GAUGE than their long scale version?

They also offer 39-96 and 49-109, nope, no more 39-96

I think they still exist for the Hofner bass.

I don’t understand their rationale on string gauge (flats). Their standard set for 34" is 45-105. They also sell a Medium set (49-109) for 34". But their only string set for longer scale than 34" is 45-105…

They sell a very light set for the 30" Hofner (39-96) but not for the other 30" basses…

Btw I wonder when La Bella started offering a lighter string set than their initial 52-110. Why did Jamerson’s Precision neck bend and not Joe Osborne’s when both used La Bella flats in the 60’s.
 
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I think they still exist for the Hofner bass.

I don’t understand their rationale on string gauge (flats). Their standard set for 34" is 45-105. They also sell a Medium set (49-109) for 34". But their only string set for longer scale than 34" is 45-105…

They sell a very light set for the 30" Hofner (39-96) but not for the other 30" basses…

Btw I wonder when La Bella started offering a lighter string set than their initial 52-110. Why did Jamerson’s Precision neck bend and not Joe Osborne’s when both used La Bella flats in the 60’s.


Jeez, I don't know, I do know that Jack Bruce used light gauge La Bella flats (I believe the 39-96 set) so it must have been at least since the mid 60's. If you keep up on truss rod adjustments a P bass neck should be able to handle the tension of those big strings. I put them on a P bass and just adjusted the truss rod and had no problems, I've read that Jamerson didn't maintain his basses that well, don't know if that's a myth or not, also don't know if it's a myth that his neck bowed. I just found out tonight that they DC'ed the SS 39-96 FX set.
 
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I think they still exist for the Hofner bass.

I don’t understand their rationale on string gauge (flats). Their standard set for 34" is 45-105. They also sell a Medium set (49-109) for 34". But their only string set for longer scale than 34" is 45-105…

They sell a very light set for the 30" Hofner (39-96) but not for the other 30" basses…

Btw I wonder when La Bella started offering a lighter string set than their initial 52-110. Why did Jamerson’s Precision neck bend and not Joe Osborne’s when both used La Bella flats in the 60’s.

LaBella discontinues what doesn't sell. If you want lighter than 43-104 for a short scale bass, try the 42-100 Low Tension Flats.
 
I wonder why Fender and Rotosound only have light gauge roundwounds ?

like to bring into the equation : shortscale needs higher action to reduce buzz,
Higher action allows for lighter strings...
Lower action --> heavier strings...
 
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I find that more malleable strings often sounds better on a short scale, with a more even eq and better intonation. I'm no Pythagoras, so I can't explain it.

On my Mustang, heavier flats often get a weird distended low end with occasional weird harmonics and intonation hiccups, while 100s sound smoother and more even. Right now I've got DR Sunbeam round wounds on it that are .105 but pretty pliant. Those are working pretty well.

On my "new"32 " Greco, I just tried .105 Boomers and they sounded good - as long as I was tuned to D-standard. I put the painfully thin D'Addarios it came with back on and ordered some new strings to try out.

I also don't feel that a certain gauge of strings necessarily feels that much more squibbly on short scale bass.

Like I said this personal experience. I'm not gonna speculate on the physics.
 
The rule is. If you decrease the scale length, and maintain the same pitch and gauge the tension will drop. Conversely if increase the scale length and maintain the same pitch and gauge the tension will increase Short scales often have the same gauge as a long scale and feel less tension. A lighter gauge will decrease the tension even further
 
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Short-scale heavy-gauge strings will vibrate more like a rod than a string. It will produce more inharmonicity, making the string out of tune with itself.
Funny thing is that, some thinner strings can be even more inharmonic than heavier ones. Rotosound 77's come to mind - if you've got large tuning posts that allow the full-thickness string to wrap around, then the long-scale SM77 sounds better than "correct" RS77S or RS77M strings.
 
Because stiffness of strings, which at a certain point prohibits proper tone and sustain, because it inhibits the strings from vibrating properly, increase the shorter the scale length, compared to and as a function of tension and gauge.
So to speak that point where, as a function of and relationship between gauge and tension, the strings gets too inflexible increase as the active vibrating length/scale length of the bass gets shorter.
That is at the same gauge and tension, hypothetically if this was possible to achieve, the same strings would feel much stiffer on a short scale bass than a long scale bass, and this effect would increase exponentially the shorter the scale length got.

A bit simplified think of a wooden stick extended between two points, the shorter distance between the two points the less flexible the stick will be.

I've personally found that I get the best result by using the same string on my short scale basses as my long scale basses.

It is better to adjust your playing technique to the fact that you are actually playing a different instrument, than trying to shoehorn your long scale playing technique by using too thick gauge and high tension strings, that will result in compromising the tone and sustain of the instrument, especially as you go up the fretboard towards the bridge (refer to above, as the active vibrating length/scale length of the strings gets shorter when you go up the board).
 
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I use La Bella 39-96 Beatle strings on my 32" EB-3 knockoff. It feels about as taut as 45-105 Rotosound 66's on my Rickenbacker. Maybe the inherent stiffness of flatwounds plays a part in it.

I'm certain that it does. My EB-3 arrived with GHS flats where E string was a 95 or something along those lines. Not floppy at all.

However, I can't do flats and the bare minimum for rounds on a SS bass for me is 105, with 110 *strongly* preferred.

My $0.02 only...
 
They either should be the same or heavier, no?
Well... As is often the case, the answer is - "It depends." Some short scale bass strings are as heavy - or heavier - than most of their equivalent long scale strings - and some are, indeed, lighter. The worn out short scale GHS Bass Boomers that I took off a headless '82 Kramer Duke, were 50-107s (which they still make). Wouldn't call those most excellent strings "light"... Very few of my short scale basses wear strings lighter than 40-100; most are 43/45 - 104/105. Pretty much the same as their equivalent long scale strings. Yes, some short scale strings are "light gauge"; but, they tend to be "bass specific" strings. The 39-96 La Bella FHB2's that are made specifically for Hofner Basses, for example; or the 43-86 760FD's that are the original Danelectro Longhorn Flats. You might have to look for them, but... short scale strings - in general - can be had in pretty much the same gauges as long scale strings. Quite a few of us short scale bass players actually prefer the heavier gauges. Opinions do differ greatly, but some of us feel that light gauge short scale strings are... kind of "rubbery" feeling. And, we don't much like that. On MY Dano Longhorn? The 760FD's lasted about 5 minutes after the tuning and intonation. Simply too flexible - for me - to play with a pick. OTOH, the 39-96 760FX's - while still giving me the desired "Dano Sound" - are marginally better, pick-wise. And, they are also available as long scale strings, too (if you know where to look). So, I can get "that Dano Sound" from one of my DC59 Pros, too...
So, yeah... some brands may not have exact short scale equivalents to their long scale offerings - but they'll be close... :cool:
 
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I've always preferred lighter gauges on short scales, because for my experience they sound better, with better intonation and with more defined bass frequencies, where heavier gauges tend to sound muddier.

the heaviest I could tolerate to have a clear and define sound was a standard 45-65-80-100 from D'addario (both round and flat), but usually I prefer lighter Rotosound (short scale 40-95) or those like Pyramid, with lighter center strings, fe: 40-55-70-100.

the Thomastik long scale sounded better than their short, on the E string, which is a 106 (short) compared to the 100 (long), and it was all mud.

La bella 43-104 were good on the Mustang, but the Chromes 45-100 intonate better and sounded more defined.

however, I think that one of the reasons why short scale sets, in particular for "vintage brands", are usually lighter, and sometimes the only choice, is because in the 60's and 70's short scale basses always had narrower necks, with narrow string spacing, and with heavier strings it's not that comfortable.

now we don't have this issue anymore, and many short scales have the same width of standard/long scales. FE I've had two Ibanez Mikro, both strung with 45-100 (D'Addario, one with Prosteel, one with Chromes), and even if the scale is shorter than 30", the width is quite standard.

an Hofner, a Mustang, a Danelectro and others with standard gauges will have a reduced string spacing.

for me - to play with a pick. OTOH, the 39-96 760FX's - while still giving me the desired "Dano Sound" - are marginally better, pick-wise.

if you compare these two sets, both light, they are:

Dano: 42-56-65-83
FX: 39-56-77-96

the G string is heavier on the Dano, the D string is the same, and the E and A are slightly bigger on the FX set. this means that probably the tensions are kind of matched overall.

both these sets are similar to those offered by others like Pyramid (40-55-70-100)***, Rotosound (40-50-75-90), GHS (45-60-75-95).

they are light sets, and a 56 D string is extremely light for an average "standard gauge" player :D

La Bella FL have 43-60-82-104, so the D string is always lighter compared to standard sets; often the G string is bigger (compared to standard), as for Thomastik that are 43-56-70-106, with that bigger E on the short scale set, but the other strings are extremely light.

56 D and 70 A strings are like the ones in a 35-90 set... kind of light, right? :D

*** they advertise as this way, but many sets I've had, under the caliber are 42-55-75-100


PS: on long scale I prefer 55-70-90-105 for flats because the E strings sounds and intonate better than a 110, and I like the heavier G. I would never use a set like this on my shorties :D
for rounds I use 45-100/105 or 110 (in this case the Billy Sheehan set of Rotosound, which is 43-65-80-110), but on shorties with rounds I've always had troubles with heavier strings.
 
This question has been debated as far back as 16th century Italian harpsichord makers. The bottom line (pun intended) is that if the string is made thicker to have similar tension to the other strings on a shorter scale, being thicker, the string won't vibrate in its partials to have consistent tone with the rest of the strings. It will go thump. The double bass string maker Pirastro does this: the E string is thinner than you expect compared to the rest of the strings in any particular set.
 
This question has been debated as far back as 16th century Italian harpsichord makers. The bottom line (pun intended) is that if the string is made thicker to have similar tension to the other strings on a shorter scale, being thicker, the string won't vibrate in its partials to have consistent tone with the rest of the strings. It will go thump. The double bass string maker Pirastro does this: the E string is thinner than you expect compared to the rest of the strings in any particular set.

See, if I were playing a harpsichord I wouldn't mind one bit. But I don't - although I'd love to own one - they sound amazing IMO.

Although I play with a *very* light touch, thinner gauge strings simply annoy the heck out of me. It's a tactile thing. And it's not that I haven't tried to get over it, more than once. Nope.

If someone with a time machine would bring me a pack of Gibson short-scale flats (55-95) that my Les Paul Bass originally shipped with, I would be very interested in trying them just to find out how they envisioned the sound of that bass at the time.

Other than that...no.

La Bella Deep Talkin' Rounds (43-110 if memory serves) had an absolutely clear-as-a-bell E string even in short scale version. Nothing else - even the custom gauge Stringjoys that I currently use - comes close, and I've tried a metric ton of short scale strings over the past 40+ years.

So...I either finagle with EQ, LPF/HPF, compression etc. in the studio or I get aggravated every time I pick up the bass. I'll go with the former...;)...obviously, YMMV and then some.
 
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See, if I were playing a harpsichord I wouldn't mind one bit. But I don't - although I'd love to own one - they sound amazing IMO.

Although I play with a *very* light touch, thinner gauge strings simply annoy the heck out of me. It's a tactile thing. And it's not that I haven't tried to get over it, more than once. Nope.

If someone with a time machine would bring me a pack of Gibson short-scale flats (55-95) that my Les Paul Bass originally shipped with, I would be very interested in trying them just to find out how they envisioned the sound of that bass at the time.

Other than that...no.

La Bella Deep Talkin' Rounds (43-110 if memory serves) had an absolutely clear-as-a-bell E string even in short scale version. Nothing else - even the custom gauge Stringjoys that I currently use - comes close, and I've tried a metric ton of short scale strings over the past 40+ years.

So...I either finagle with EQ, LPF/HPF, compression etc. in the studio or I get aggravated every time I pick up the bass. I'll go with the former...;)...obviously, YMMV and then some.
In 48 years of playing bass, the best compromise between feel and tone for a short scale bass I have found are the GHS Balanced Nickel strings. They have good tension, big, round, tone, good balance of both tone and feel, string-to-string and up the neck, the E string doesn't get thumpy too soon, reasonably priced, and being nickel, after they are seated after awhile start taking on some of that organic woodiness that we all miss about "golden era" Fender flats. I take my travel bass retrofitted with a Nordy Mustang pickup Seymour Duncan stack J-bridge pickup wired conventionally V-V-T with a narrowed bridge to Mustang style string spacing straight into an amp, no effects necessary.