Need your input, men

L

LstPrpht4Lf

Joined
Jul 1, 2006
Messages
24
Reaction score
0
I own a 'vette 5 in bubinga, active.

I'm currently using DR Black Beauties.

I'd like to switch to a string that'll accompany my bass with lots of mids (I get told I've got a nasty mid scoop going on...can't seem to fix it) and shine through with great harmonics. I want a nice, tight, crunchy sound. Jazzy, one with clarity.

Any input on new strings would be greatly appreciated. I'm not looking for any more coated DR's. I've used Elixirs in the past, but they accentuate the highs, and we all know Warwicks come loaded with tons of highs.

Maybe flat wounds? Or round wounds?

Help me, guys,

Andrew
 
I play out of many. A Peavey 2x10 combo for lab band, a small Gallian Kruger for lessons, and I own a Yorkville x400 hooked up to an Ampeg 4x10, which I play out of in the dorm.

I was just now playing with the rhythm section for lab and noticed that I don't have a very defining sound. You can't quite put your finger on what I'm playing, so to speak. I tried messing wth this that, turning highs up and fading to the back pickup.

I think I've determined I need new strings. Someone said on a forum that once the DR Black Beauties go dead, they really go dead. That might be the case.
 
Any nickel wound strings will get the mids you want. I have Yellow Lables on my Thumb that really makes a warm clear sound.
 
Vinman said:
Any nickel wound strings will get the mids you want. I have Yellow Lables on my Thumb that really makes a warm clear sound.
Click to expand...

I was gonna say, I only use nickel wounds on my Bubinga Corvette std but its fitted with EMGs.
 
You're playing out of a 2x10 cab, you've got DR black beauties on a Bubinga corvette, and you're not getting enough midrange????

Without actually standing in the room with you to see what's up, I think the problem you're describing doesn't have much to do with your strings. Or your bass, for that matter.

You say you don't get a defined enough sound in lab rhythm section. I'm guessing that means you're playing with a trap kit and either a piano or a guitar; maybe both.

If my recollections of college rhythm section rehearsals serve, you're probably boosting the same frequencies as the harmony instruments... you're fighting with the guitar/keys/both for the same midrange frequencies, and you're LOSING that fight. That high end you keep boosting isn't doing you any favors either if you're in a small room competing with cymbals and a guitar. Does any of that seem right? I don't want to assume too much, but that sounds like a decent guess...

I just posted the beginnings of an analysis of which frequencies help a bassist out over in the "Tips and Tricks" section. It's called "That Warwick Growl"... check it out and let me know if boosting any of the frequencies I mention over there doesn't help this situation out a bit!

And if you're way ahead of me here and you really ARE putting the right mids into your sound, I have one other suggestion for some self-analysis. I used to assume all bassists applied a similar amount of right hand pressure when they pull the strings... and after teaching enough students, it's painfully apparent to me that not nearly enough players understand what Jaco was telling us decades ago:

IT'S ALL IN THE FINGERS.

So ask yourself a very important question: are you a bass PLAYER or are you a bass TICKLER?

:)
 
sethsbase said:
You're playing out of a 2x10 cab, you've got DR black beauties on a Bubinga corvette, and you're not getting enough midrange????

Without actually standing in the room with you to see what's up, I think the problem you're describing doesn't have much to do with your strings. Or your bass, for that matter.

You say you don't get a defined enough sound in lab rhythm section. I'm guessing that means you're playing with a trap kit and either a piano or a guitar; maybe both.

If my recollections of college rhythm section rehearsals serve, you're probably boosting the same frequencies as the harmony instruments... you're fighting with the guitar/keys/both for the same midrange frequencies, and you're LOSING that fight. That high end you keep boosting isn't doing you any favors either if you're in a small room competing with cymbals and a guitar. Does any of that seem right? I don't want to assume too much, but that sounds like a decent guess...

I just posted the beginnings of an analysis of which frequencies help a bassist out over in the "Tips and Tricks" section. It's called "That Warwick Growl"... check it out and let me know if boosting any of the frequencies I mention over there doesn't help this situation out a bit!

And if you're way ahead of me here and you really ARE putting the right mids into your sound, I have one other suggestion for some self-analysis. I used to assume all bassists applied a similar amount of right hand pressure when they pull the strings... and after teaching enough students, it's painfully apparent to me that not nearly enough players understand what Jaco was telling us decades ago:

IT'S ALL IN THE FINGERS.

So ask yourself a very important question: are you a bass PLAYER or are you a bass TICKLER?

:)
Click to expand...

Great post Seth. It's very important to understand the role of every single instrument you are playing with and also what kind of environment all these instruments are interacting together at.
 
well finger styles are very important. I had some BB on my bubinga vette 4. I hated them, HATED them. I now play Marcus Miller Fat Beams (DR) and LOVE THEM!!! hahaha. Maybe im insane.
 
Gonzo0100 said:
well finger styles are very important. I had some BB on my bubinga vette 4. I hated them, HATED them. I now play Marcus Miller Fat Beams (DR) and LOVE THEM!!! hahaha. Maybe im insane.
Click to expand...

I played the MM's for a while and I found them to be inconsistent from string to string. Some set's had great high's and crappy lows(more so in the B and E) others had crappy highs and crisp lows. I would still be using them if they where on spot. If you like them I recomend trying some Thomastik Infeld Jazz Roundwounds. They are expensive but WOW these things crush any set of DR's. I only use them on my Nordy and they are something else I might break down and buy another set for my thumb next week. just figured I would share 8)
 
D'Addario XL's have a very good midrange.
But IMHO strings can't make all that difference...
How are your eq. settings?
How do you use your on board electronics?
 
I've heard some really good things about Thomastiks and I'm thinking about treating myself to some when I do the old string change act next month on my stuff.
 
Man, lots to reply to. Good stuff(!)

To start, my eq on the bass is flat. No treble or bass boost, and the pickup fader's in the middle. I think It sounds good this way.

I know, it sounds rediculous. 2x10 and no midrange. The eq's on there are mostly flat, also. Some contour, but not a whole lot. And yes, I'm playing with a rhythm section. Guitar, piano, and drums. A good bit of brass and sax, also. We're in a fairly large room.

My right hand technique isn't lacking. I don't baby the strings, nor do I kill it. I also play just in front of the rear pickup, so it's got punch.

As for the Thomastik Jazz Roundwounds, how are they? What do they feel like? Sound like? They sound appealing.

Thanks for all the input, guys. I appreciate it,

X
 
Mr. Prophet...

Yeah, definitely go check out the thread at "That Warwick Growl"...

Now, you said your bass is flat, and that your amp is flat "WITH A LITTLE BIT OF CONTOUR".

What a "contour" knob does is scoop your mids!! If you're lacking midrange, your contour knob should be at ZERO. Turning up your contour knob works against turning up your mids. Don't do both at the same time to fix this problem you're having...

Good luck.
 
Seth - Bass tickler? That just sounds dirty... :twisted: I agree with the concept, especially on my Infinity SN5. I've always had good luck with Warwicks being able to handle a wide variety of articulation from very light contact around the 24th fret to aggressive ripping of strings right in front of the bridge with the volume staying relatively consistent with either technique and actually, it's one of Warwick's selling points for me. Many of the other basses lose points when I vary the location to vary the tone. As for the string selection.. I currently have BB's on a Corvette LTD 2004 and I'm not impressed but the same string on the SN5 is amazing. If LstPrpht4lf can find/order them, I'd recommend the Warwick EXP's. They're not unusually expensive and I've had good luck with them in the midrange department on Vette's and Infinity's... Best of luck, ~M~
 
I, like most of us have been there, the quest for" the ultimate tone". I had simular issues 8 years ago with my corvette std / peavey rig. I found the the tone I was looking for, my current amp just couldn't produce. The answer I was looking for lied in the ampeg svt. IMO solid state amps just cant compete with the complexity, warmth, and power of an all tube platform. Sure their expensive, more delicate, and at times a pain in the ass, but the tone is to die for. This is by no means an ampeg plug, there are a host of brands out there, this was just the one that worked for me. Also you mentioned that you play the onboard EQ flat with the pickup blend centered, (I also prefer this setting) try pulling up on the volume knob. This will defeat the onboard preamp, which IMO opens up the natural mids that preamps tend to bury, you can adjust the gain on the amp to compensate for the inheirent loss. Good luck in your quest.....Peace.
 
I ordered a set of Infeld Superalloy's.

We'll see how they sound.

And for now, taking the contour out definitely helps.

Thanks, chaps.

And maybe one day when I can afford it, I'll get that Ampeg head I've always wanted.
 
You must log in or register to reply here.
Back
Top