Wouldnt you just set up what would be a standard 5 string set, but not purchase a G? And that would mean.. what, more tension I would assume...borge wrote:I assume you're asking is a 4 string tuned BEAD putting more stress on the neck than it being tuned EADG?KentNZ wrote:Have often wondered about this. Is it much more strain on the neck?borge wrote:get a 4 string bass and 5 string strings.
You can get the low end range of a 5 without all the negative conotations that come with owning a 5
Well it could be less or more, it's totally dependant on the string gauge/s used for each tuning.
Bass nerds!
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Good call but, if it's for recording, does it matter very much about the tone options though?TmcB wrote: I would go for the G & L out of that lot, particularly if you're using it for recording. They have stupid amounts of options on board in terms of tone customization with the series/parallel and active/passive options.
I would have thought that that it would just have been a matter of playing and then sorting the sound from the mixing desk?
If you don't know what the rest of the mix is going to sound like, does one need to worry up front about the tone of the bass?
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I think I've read somewhere that bass strings are under less tension than guitar strings. Is that true?KentNZ wrote:Wouldnt you just set up what would be a standard 5 string set, but not purchase a G? And that would mean.. what, more tension I would assume...
They DO feel slacker, at least to me.
Can you just tell people to hold a string when you're buying a set?
I don't think I've ever tried that!
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Thickness <> tension.
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Re: Bass nerds!
Better toget the tone you want up front. Fixing it inthe mix isn't often a good idea.Vince wrote:Good call but, if it's for recording, does it matter very much about the tone options though?TmcB wrote: I would go for the G & L out of that lot, particularly if you're using it for recording. They have stupid amounts of options on board in terms of tone customization with the series/parallel and active/passive options.
I would have thought that that it would just have been a matter of playing and then sorting the sound from the mixing desk?
If you don't know what the rest of the mix is going to sound like, does one need to worry up front about the tone of the bass?
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yeah, but if you don't know what the rest of the mix is going to sound like..? Is it worth worrying about the bass' original tone up front?Polar Bear wrote: Better toget the tone you want up front. Fixing it inthe mix isn't often a good idea.
No, but when I've broken a string, I notice that thick strings (even on guitar) just sit there, while it's the higher pitched strings that really snap.badmotor wrote: Thickness <> tension.
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Bass nerds!
My view is that the further the signal gets from your fingers, the less beneficial effect EQ has.Vince wrote:yeah, but if you don't know what the rest of the mix is going to sound like..? Is it worth worrying about the bass' original tone up front?Polar Bear wrote: Better toget the tone you want up front. Fixing it inthe mix isn't often a good idea.
In recording terms, the more you have to boost, the more potential for distortion you have.
If you're getting the sound you want right off the instrument, the more organic, less processed, and ultimately better sounding the recording will be. There are also things you just can't easily EQ in after the fact without a detrimental effect. It can be easier to mix in an instrument that already has some inherent EQ, like a P Bass.
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Yeah, fair enough. Just curious.TmcB wrote: If you're getting the sound you want right off the instrument, the more organic, less processed, and ultimately better sounding the recording will be. There are also things you just can't easily EQ in after the fact without a detrimental effect. It can be easier to mix in an instrument that already has some inherent EQ, like a P Bass.
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I'd say that's a function of mass and elasticity....especially as the tensions on each string are pretty close. .Vince wrote:No, but when I've broken a string, I notice that thick strings (even on guitar) just sit there, while it's the higher pitched strings that really snap.badmotor wrote: Thickness <> tension.
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Re: Bass nerds!
the Massive clip = a Ken Smith Bass. He's an interesting guy, well worth a read up about
I can't hear any bass guitar in the clip but suspect that is Leland Sklar's line from the Billy Cobham classic "Stratus" which came off the "Spectrum" album. Tommy Bolin really rips it up on this record.
no idea why people convert 4's into 4's with 5's low tuning. Buy a decent 5 eh
Kramer had a Spector license in the late '80's for sure. On paper at least that is far and away the best instrument listed.
what did you go for in the end BM?
I can't hear any bass guitar in the clip but suspect that is Leland Sklar's line from the Billy Cobham classic "Stratus" which came off the "Spectrum" album. Tommy Bolin really rips it up on this record.
no idea why people convert 4's into 4's with 5's low tuning. Buy a decent 5 eh
Kramer had a Spector license in the late '80's for sure. On paper at least that is far and away the best instrument listed.
what did you go for in the end BM?
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Re: Bass nerds!
Oh hey man,foal30 wrote: Kramer had a Spector license in the late '80's for sure. On paper at least that is far and away the best instrument listed.
what did you go for in the end BM?
Yeah - I had to put the bass guitar thing on hold after my infamous DSL 50 committed suicide. Yeah, I've heard about that Stratus bass line before... very interesting.
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We speak the same language.Kev77 wrote:Pbass, flat wounds. End of..
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