School me on string gauges, please

amnicon

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I'm a long-time acoustic player, but have been becoming a more serious dabbler with electrics in recent years. I picked up a Pilot a few years ago, but haven't put the time in to really get comfortable on bass. I finally got the Pilot's neck massaged via truss rod to where it feels better to play, and want to finally get around to new strings as well. Tell me what I need to know please!!


So, I'm assuming strings on the thinner end may be easier to play for my infrequent bass dabbling, but is that actually true? And what really is "thinner" in gauges?
For reference if it matters, I prefer 13s on my 6 string acoustics and 9-46 on my electrics.

I play rock, folk, and other odds-n-ends.

What else should I consider?

Thanks, all!
 
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Minnesota Flats

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When I decided to make the transition from guitar to bass, light-gauge, flat-wound bass strings (e.g.: D'Addario ECB-81 Chromes---45-65-80-100) were a lot easier on my fingers than round wounds. They are also easier on your frets. I would recommend starting there if you can get the tone you want out of them (you didn't mention what sort of music you play). ECB-82 Chromes are slightly heavier (50-70-85-105).

The tension of Chromes is relatively stiff (which I prefer) than sets sold by some other companies. Thomastik-Infeld, for example, tend to have less tension (at least by reputation: I've never used them as they are very expensive).

As you've probably already found about guitar strings, different bass strings may feel different to you according to what metal they are made of. Some manufacturer's strings feel "sticky" to me (I suspect because they probably react the the individual chemistry of my sweat) so I avoid them (e.g.: Rotosound "Jazz").

"I prefer 13s on my 6 string electrics and 9-46 on my electrics."

Regardless of what gauges you've used on guitar, any bass string is going to feel like a bridge cable to start with, but you'll adapt. All guitar strings feel thin and slinky to me nowadays, but I pretty much stopped playing them a few years ago in favor of bass.

Here is some very basic info about bass strings:

https://www.studybass.com/gear/bass-strings/all-about-bass-strings/1

Hope you find something useful in all that.
 

mellowgerman

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Another thing to consider is that, if you're good at setting up instruments, higher tension usually allows for lower action without fret-buzz. Typically heavier gauge makes for higher tension.
 

fronobulax

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As an anecdote, I have no idea what string gauges are on my various basses. I am pretty sure in a world that has light, medium and heavy gauge bass strings they are all mediums. I do know which sets are roundwounds and which are flats but I have never asked for something from a bass, didn't get it, and decided changing string gauges was the answer.

I recognize that my expectations and expertise contribute to this. I would be shocked, for example, to find out that Jack Casady (or any other bass idol) had no opinion on string gauge. But as a newer bassist you may just be concerned about somethign that matters to you on guitar but won't make a difference to you on bass (yet).
 

The Guilds of Grot

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I play D'Addario because they're easy to find and relatively cheap. I also like Round Wounds because I like a little "ring" in my bass. (Versus the "thump" of flat wounds.)

D'Addario's basic gauges are as such:

Extra Super Light = 35-95

Super Light = 40-95

Light = 45-100

Medium = 50-105

Heavy = 55-110

I have some basses strung with Lights and some basses strung with Mediums. Apparently I have no feeling in my hands because I can't tell the difference! (Nor can I tell a 1/16" difference in the width of a guitar nut!)

As a newbie Bassist I would go with the Lights.

A1C7ZgLvLZL._SL1500_.jpg
 

amnicon

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Another thing to consider is that, if you're good at setting up instruments, higher tension usually allows for lower action without fret-buzz. Typically heavier gauge makes for higher tension.

Yes, this is what I've been working on on the Pilot. I forever didn't have a wrench that fit the cavity of the truss rod, and finally got one. Now come to learn the nut is a bit stripped, and I wasn't able to take as much upbow out of the neck as I'd have liked.

I play D'Addario because they're easy to find and relatively cheap. I also like Round Wounds because I like a little "ring" in my bass. (Versus the "thump" of flat wounds.)

Great, I appreciate the specific recommendation. Thanks!

When I decided to make the transition from guitar to bass, light-gauge, flat-wound bass strings (e.g.: D'Addario ECB-81 Chromes---45-65-80-100) were a lot easier on my fingers than round wounds. They are also easier on your frets. I would recommend starting there if you can get the tone you want out of them (you didn't mention what sort of music you play). ECB-82 Chromes are slightly heavier (50-70-85-105).



A

https://www.studybass.com/gear/bass-strings/all-about-bass-strings/1

Hope you find something useful in all that.

Yes, very helpful. That website helps for sure.

I also appreciate the idea of the Chrome strings. The wee bit I had researched round vs. flat wound I figured rounds were for me due to sound, but a quick read-up on Chromes seems that they sit in the middle some. Definitely worth checking out at some point. Thanks!
 

mellowgerman

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Yes, this is what I've been working on on the Pilot. I forever didn't have a wrench that fit the cavity of the truss rod, and finally got one. Now come to learn the nut is a bit stripped, and I wasn't able to take as much upbow out of the neck as I'd have liked.


In that case it's probably a good idea to go with a little lighter gauge and lower tension. Unless you went with something like a Thomastik Infeld flatwound which are higher gauge, but due to the fact that some of the internal winding is nylon, they are lower tension and more flexible.

I probably like D'addario Chromes or DR Legend flatwounds the best. Once they're broken in there's nothing better in my opinion
 

mgod

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I used to care about this. But tension is more important I find.
 

amnicon

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I used to care about this. But tension is more important I find.

How would tension be anticipated on a new set of strings? Is there a measurement that allows for comparisons on paper, or is it all trial and error?
 

hieronymous

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How would tension be anticipated on a new set of strings? Is there a measurement that allows for comparisons on paper, or is it all trial and error?

Not across the board - a lot of the information is only available anecdotally on forums like TalkBass. Most manufacturers don't list that kind of information. And a number on the page doesn't necessarily match people's experience. Some people will say that tension isn't necessarily the same as flexibility for example.

Chromes could be interesting - I would suggest the lighter-gauge set to start with, though I personally prefer higher tension strings so I prefer the medium gauge set. Whatever strings you get, you'll probably have to do some more truss rod & string height adjustments.

I've been playing bass for over thirty years, and I have played a lot of strings - it's kind of fun but also potentially nerve-wracking, especially cutting them when putting them on!

Now that I think about it, I think I might suggest round wound strings. Flats can sound "dead", without much treble response (though the Chromes are brighter than a lot of others) - sounds great with a band for certain types of music, but if you're going to be messing around on your own then you may want to be able to have the full range of sounds that rounds provide - turn down the treble and you can approximate the flatwound sound.

Then another question becomes - stainless steel or nickel? I prefer nickel because they are a little darker and a little higher tension. Stainless steel is said to chew up frets - and fingers! - more too, though I haven't experienced that in a while. And since you play guitar it might not be such an issue.

Anyway, have fun! Welcome to the low end!
 

Nuuska

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. . . and finally got one. Now come to learn the nut is a bit stripped, and I wasn't able to take as much upbow out of the neck as I'd have liked. Thanks!


Hello

If the thread of the nut is stripped - why not simply replace it?

If the thread of the trussrod is stripped - a new nut might be helpful, too. Or put a washer or two under the nut to keep it on better portion of the thread.
 

mellowgerman

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Now that I think about it, I think I might suggest round wound strings. Flats can sound "dead", without much treble response (though the Chromes are brighter than a lot of others) - sounds great with a band for certain types of music, but if you're going to be messing around on your own then you may want to be able to have the full range of sounds that rounds provide - turn down the treble and you can approximate the flatwound sound.

Not to muddy the waters here, but I would have to respectfully disagree with you on this point. Not that I would recommend against roundwounds. These days it's probably safe to say that they are the standard string choice for manufacturers and most players and there is absolutely nothing wrong with them. However, I think it's a common misconception and oversimplification to say that flats sound essentially like roundwounds with the tone rolled off. I would argue that they are a totally different animal. Sure they have a generally darker tone, but there is also a lot to the flats sound that you simply will not get from a roundwound string. To my ears, rounds with the tone rolled off still lack the body and thumpy punch that is inherent to a nice set of broken-in flats.
At risk of getting super wordy, super early in the morning, regarding something that I've probably overthought for years now...
As a thought experiment of the physical properties of strings, imagine a calibrated set of tubes (or pipes -- not vacuum tubes), with one for each possible string gauge so that the given string could slide in and fit perfectly inside of the tube. As the name suggests, the outer winding of a flatwound string is flat, so when passed into the corresponding tube, the string would fill it completely with its mass. The outer winding on a roundwound on the other hand, exhibits a grooved texture. When fed into the tube of the corresponding gauge, these grooves would result in a whole lot of air inside the gauged tube, that would otherwise be solid string mass with a flatwound of the same gauge. So when thinking of strings of the same gauge, there is simply more mass to a flatwound string, not to mention the outer winding resulting in a certain stiffness which also causes the string to vibrate differently.
So I guess what I'm really trying to say here is that each type of string has very distinct tonal properties and that all players should take a stab at both styles. I'd also say that it's important to not just slap on a set for a day, but rather take some time with them, let them break in and play with the EQ on the amp. Settings that sound good for one set of strings won't necessarily sound good for another.
I know that when I first tried flatwounds back in high school, it blew my mind and I immediately started enjoying bass even more than I already did, and as a result felt inspired to play and practice at least double the amount I did previously.
I realize I probably sound like I'm here to preach the gospel of the flats, but realistically I'm just trying to stress the importance of exploring different types of strings. There's so much variation in tone and feel to be discovered there. Flats work for me, but rounds may work better for you.

Afterthought: I have a soft spot for Thunderbird basses and have owned a few (both Gibson and Epiphone). The interesting thing with these basses is that they are the only ones I've played on which I prefer roundwounds. TB pickups have a big mid-heavy, growly, though dark tone. I feel like they just shine with roundwounds and sound kind of dull with flats. I always went with a nice set of nickel rounds for their relative warmth in comparison to stainless steel, in addition to them not wearing on the frets quite as much, as already stated above.
 
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fronobulax

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However, I think it's a common misconception and oversimplification to say that flats sound essentially like roundwounds with the tone rolled off. I would argue that they are a totally different animal. Sure they have a generally darker tone, but there is also a lot to the flats sound that you simply will not get from a roundwound string. To my ears, rounds with the tone rolled off still lack the body and thumpy punch that is inherent to a nice set of broken-in flats.

Anecdotally, I have a set of rounds that were new in 1976 and have been on several basses. That experience leads me to believe that there is a fundamental sonic difference between rounds and flats. Pickups and plucking hand technique can reduce or exaggerate the difference but it remains. If you can hear it and have a preference then that is all you need to deliberately choose one over the other.

As a specific example the much maligned JS II with Guild humbuckers gets a fat thump tone with flats that cannot be duplicated with rounds, at least by me. :)
 

hieronymous

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Not to muddy the waters here, but I would have to respectfully disagree with you on this point. Not that I would recommend against roundwounds. These days it's probably safe to say that they are the standard string choice for manufacturers and most players and there is absolutely nothing wrong with them. However, I think it's a common misconception and oversimplification to say that flats sound essentially like roundwounds with the tone rolled off. I would argue that they are a totally different animal. Sure they have a generally darker tone, but there is also a lot to the flats sound that you simply will not get from a roundwound string. To my ears, rounds with the tone rolled off still lack the body and thumpy punch that is inherent to a nice set of broken-in flats....

I'm actually in agreement with you - I personally think that the bottom end of flats is different than rounds, something like a more defined fundamental. Half my basses are strung with flats - I've even put them on Alembics! Actually a lot of people associate Alembic with roundwounds, like John Entwistle (perhaps the grandfather of roundwounds on bass) and Stanley Clarke, but the classic Phil Lesh/Alembic sound through the '70s was flats.

But given that the OP is a guitarist looking to put their first set of new strings on the bass, I thought that rounds might be a good place to start. That's why I said that they could *approximate* flats - but like you say, they are definitely not the same.
 
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mellowgerman

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I'm actually in agreement with you - I personally think that the bottom end of flats is different than rounds, something like a more defined fundamental. Half my basses are strung with flats - I've even put them on Alembics! Actually a lot of people associate Alembic with roundwounds, like John Entwistle (perhaps the grandfather of roundwounds on bass) and Stanley Clarke, but the classic Phil Lesh/Alembic sound through the '70s was flats.

But given that the OP is a guitarist looking to put their first set of new strings on the bass, I thought that rounds might be a good place to start. That's why I said that they could *approximate* flats - but like you say, they are definitely not the same.

Makes sense! :)
 

amnicon

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I really appreciate all the know-how you all are sharing here. It's been super interesting to hear your discussions of round vs. flatwound and the factors that contribute to resultant sounds. I have a lot of respect for the wisdom and experience you all have and are willing to share!
 

lungimsam

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All me basses have 40-100 or 105 heaviest flat chromes. Bright and piano like tone. Clear. Mostly fundamental.

I hate roundwound zing/harmonics and annoying finger squeltch. Very disruptive in melodic and quiet passages.
 

fronobulax

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Very disruptive in melodic and quiet passages.

Wait. You have those things and play bass? :)

The B50 has phosphor bronze on it and on a bad day you just look at it and hear finger squelch and other noises. I have been told, however, that they don't get heard by the audience. The noises sometimes distract me or the players around me but no one off stage hears them. I am absolutely certain that is because there is no amplification involved.
 
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