Horus

Cordas para Baixo

101 posts neste tópico

Boas,

vi por aqui um ou outro tópico a falar de cordas mas nada de conclusivo.

Gostaria de compilar as vossas experiências num só tópico num estilo de qual as cordas que mais gostam (marca e gauge) e que depois de votarem nas polls fundamentassem aqui as vossas respostas.

Que tipo de cordas gostam mais? Mais brilho, menos? Que tipo de música tocam? Gostam com mais ou menos tensão? etc... etc...

Tentar criar aqui um compendium de cordas que possa vir a tornar-se fixo.

UPDATE:

retirado de outro site (http://www.bass-strings.com/bass-string-guide) alguma informação sobre cordas, uma vez que o tópico está fixo, acho que é uma boa ajuda para quem quer mais informação sobre cordas

Bass String Guide

What to Look for When Buying Bass Strings

As stated in the home page, the character of a string is primarily based on the winding (roundwound, flatwound, etc.) and the material used. We will explain the most common materials and windings, which probably account for 95% or more of every bass sound you have ever heard.

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Roundwound Strings

Roundwound strings involve a metal wrapping, generally made of stainless steel or nickel, around the core that is not ground down or smoothed out. You can actually feel the rough, metallic ridges in these strings when you touch them. They represent a more modern sound, but are capable of producing a wide range of tones that are distinctive to many styles of music. They are probably the most commonly used types of strings today.

Roundwounds produce a very wide range of frequencies. They carry much more of the high end- where words like brightness, clarity, even metallic or "clanging" come in, and have a longer sustain than more "old school" bass sounds- which more often came from flatwound strings or upright bass.

These high end frequencies are strongly emphasized in the clear, percussive effect of slapping and popping in players like Victor Wooten, Marcus Miller, Larry Graham, etc. - roundwound strings are critical to this sound and this evolution of bass playing.

Jazz bassist Jaco Pastorius had a legendarily expressive sound, which was the result of roundwound strings singing directly against the wood of his fretless bass. I strongly recommend listening to him for countless reasons- here is one place you can start.

Roger Waters of Pink Floyd, John Entwistle of the Who, Geddy Lee of Rush , Chris Squire of Yes All and countless others used roundwounds and took full advantage of their bright, full sound.

Note that the metallic ridges in these strings are inherently tougher on frets and fingerboards (particularly on fretless,) as well as your fingers, so be sure to keep an eye out for any wear. This will vary greatly depending on how hard you play, the particular type of string and construction of your bass-- if you start to see any problems or have any concerns with your instrument, take your bass to a qualified luthier who can give you sound advice as well as correct any problems. If you start to have problems with your fingers, which is quite common in new players or those who have always used softer strings, take a break and allow them to heal which will develop a callous.

Of course, "roundwound" refers broadly to this type of string construction, and there are many varieties of brightness and character within this family. One of the most important factors is what the winding is made of. As stated earlier, they are typically made of either stainless steel (brighter) or nickel (more mellow).

Stainless steel

Stainless steel roundwound strings fall furthest on the bright, "metallic" end of the sound spectrum. You often will hear the buzz, grit, clang (or whatever you would like to call it) in the sound, which is desirable in many styles. Observing the comments of numerous players online and offline, the consensus seems to be that stainless steel are the clearest, brightest strings out there. They often increase the perceived volum output in sound from the bass, but also tend to be more rough on the fingers and instrument.

The aggressive, cutting, sound in hard rock and metal is generally the sound of stainless steel roundwound strings played aggressively with a pick.

Bassists Brian Bromberg and Steve Swallow (an excellent bassist, and probably the most successful ever at utilizing electric bass in hard-swinging modern jazz contexts) also use stainless steel strings made by LaBella.

Nickel

Nickel feels a little softer on the hands and has less of the metallic high end treble in the sound than steel strings. This also equates to less finger noise coming through and a smoother, mellower sound than steel while still falling on the bright/clear end of the spectrum.

Victor Wooten uses nickel roundwound strings.

Flatwound Strings

Flatwound strings are very smooth, with a much darker, muted or "dead" sound, and generally more low-end "thump."

One of the best examples of the flatwound sound is from 1960s Motown, particularly that of bassists James Jamerson and Carol Kaye. Flatwounds are also popular when looking to emulate the attack, shorter sustain and essence of a more old-school upright bass sound.

Though it is promotionally geared towards GHS brand, this video from bassist Dave Pomeroy is great for explaining not only flatwound strings, but all sorts of information that will be extremely useful to you on your string quest. The rest of the videos will be featured as well.

Halfwound / Groundwound Strings

Halfwound or groundwound strings are a nice compromise between round and flat. Halfwounds are essentially roundwounds that are partially ground-down and smoothed out, to providing a middle ground between brightness vs. deadness in sound, and metallic roughness vs. smoothness in feel.

Nylon / Tapewound

Much less common these days than flat or roundwound, a few companies including Fender, GHS and Rotosound make a "tapewound" string out of Nylon- they are actually even darker and warmer than most flatwound strings. They are more common on acoustic bass guitars or basses that use a piezo pickup system, and are often used when a player is looking for something closer to an upright bass sound. If you have ever seen black strings on a bass, that is likely Nylon. Paul McCartney used them on Abbey Road, for a sonic reference. See the article "About Nylon Tapewound Strings" in the articles section of this site for more info.

What are "Taperwound Strings"?

Do not get confused between Nylon Tapewound, which is an actual winding type, and taperwound or tapered, which is something that could technically apply to any winding or material type. A string that is "taperwound" gets either progressively, or suddenly smaller as the string gets to the bridge (where the strings rest at the bottom of the bass.) The idea is that more, or all, of the core wire is making direct contact with the "saddles" at the bridge.

If you have ever looked inside of a piano, you will see that string is very thin (just the core) at the end, with the full thickness of the winding appearing after the saddle. Take a look at the picture of the strings on these LaBella SuperSteps for an example:

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The effect of this tapering is a longer sustain and a brighter sound.

String Gauges

String gauge, for the purposes of what matters to 98% of us players, refers simply to how thick the string is. The diameter is measured in inches. A very standard middleground is .105 for the E string and .45 for the G string- any names such as "light," "extra-heavy" etc. are assigned by the makers and are not industry standard markings, but the measurements in diameter are almost always clearly marked on the packaging.

In general, the thicker the string, the fatter and more low end in the tone, but this also will increase tension and require more endurance to play. If you are going for more of a James Jamerson sound (the "motown sound" of the 60s,) go for thicker strings with higher action. If you are going for a Victor Wooten sound, think a little thinner.

If you like to tune your E string down to D, definitely go for a thicker string.

Lighter gauge strings are very popular in players who use a lot of slapping/popping.

If you are unsure about what to go for or do not want to worry yourself with this- and you are far from alone- go with what most brands will call their "medium" gauge, which would fall within the standard .105 E string to .45 G string range as a starting point. One of the benefits of a site is that you can find some very cheap sets of strings in order to test a few different sizes and see if you really fall in love with the feeling of thicker or thinner strings. If you have never experimented with this, you may be surprised how much of a difference it can make for you. If you have the option, go to a music store or local musician who may have basses strung differently.

Scale Length

Scale refers to the distance between the bridge (where the strings rest at the bottom of the bass) and the nut (where the fingerboard meets the headstock)

Most basses are 34", though 35" is not uncommon for 5 or 6 string basses.

The string length for these standard basses (which you most likely have) is referred to as long-scale -- this can be confusing, as it sounds like it refers to some sort of special, extra-long bass- but no, long-scale is the norm.. much like the vast majority, if not all, acoustic upright basses you have ever seen are actually "3/4 size" basses.

Long Scale (MOST COMMON) - 34"

Super / Extra Long Scale - 36"

Medium Scale - 32"

Short Scale - 30"

Some basses like Steinberger, the Hofner Beatle Bass or Fender Mustang, require short scale strings. A quick google search of your particular bass should answer the question if you have any concerns, but chances are you have a "normal" bass that requires long-scale strings.

String Tension

Tension, or how stiff or loose the string feels, is determined by a variety of factors.

Gauge - Thicker strings have more mass and therefore more tension, but it is only one of the factors in the overall feel-- two different brands the same size can and will have different tensions, and even one brand with the smaller gauge could feel more tense after the other components come into play. However, if you are dealing with the same type of strings on the same bass, buying a thicker set will = more tension,

Scale Length - Longer scale = more tension. The same brand of strings will feel more or less tense if the scale length is longer or shorter.

String Height or Action - Higher string height or "action" will make strings feel more tense. This can be adjusted by adjusting the truss rod and changing the height of the saddles on the bridge.

Core - A string with a "hex" core will have more tension than one with a "round" core. The core is the wire in which the wrapping (nickel, steel) etc. wraps around, "hex" or "round" refer to the shape of that wire and thus how the contact with the string is made.

Sorting through the brand names

You will encounter a lot of catchy but ambiguous names for strings, which can be confusing especially if you have already decided on what type of general string you want (flatwound for instance).

Visit the "Strings by Type (Winding / Material)" to see all strings of a particular variety-- for example, all the flatwound strings from various companies with descriptions.

If you have a brand you are interested, click on that brand on the right menu to get an overview of the strings that the company makes.

Buying Strings

Strings can be an expensive experiment - hopefully this site can largely narrow things down for you in terms of what you are looking for. You never know for sure what a string is going to feel/sound like to your own hands/ears, so try to get your hands on them via a friend, fellow bassist or music store.

eBay links are included for strings on this site as you can often find a very good deal- sometimes you can find ridiculously inexpensive single strings or slightly used, which can be a good way just to get your hands on them and feel their character. One of the most useful things for me personally was getting my hands on several sets of used strings and being able to find out what type of tension / winding etc. felt good to me, then buy the right new strings.

If you have any concerns or suggestions, please contact us through the link on the top menu.

DR STRINGS REVIEW by Ed Friedland

When it comes to bass tone production, there is an old saying: "It's all in the hands." I'm not suggesting that instruments and amplifiers have nothing to do with your tone, but have you ever noticed how a great player can make anything sound good? But, what is the first thing even the most skilled hands have to deal with when they play bass? Strings.

A set of strings is the least expensive way to change the fundamental character of your instrument. However, at $25 a pop (roughly), a set of bass strings is not exactly cheap, and understanding how different types affect your sound can help you make the right choice. This month, I'm taking a look at the DR Strings product line.

Some Personal Background

DR has been around since 1989, and to my memory was the first "boutique" bass string on the market. When they arrived, there was a lot of buzz about how long they lasted, how pure the fundamental was, etc. So naturally, I checked them out even though they cost around $25 a set—much more than other strings at that time. I distinctly remember getting a bad string in one set (...this was 1989 folks), and feeling a bit miffed, I called the company directly. Now, in 1989, I was not "The Bass Whisperer", I had not written for any bass magazines, and had not published any books. I was just your typical freelance bassist in Boston, making a living. When I called DR, I didn't know what to expect, but next thing I knew I was talking to Mark Dronge, the founder of DR Strings! He listened to my complaint with genuine concern, asked me some questions, and sent me a new set of strings. Their level of customer service made a big impression on me, and many years later, I can say that the folks at DR are just as concerned with product quality and consistency as ever. And I can also say—in the past 20 years, I've never had another bad string from DR.

String Categories

Before I get into the testing procedure and results, here are some facts about the different categories of string that DR offers—keep in mind that much of this information applies to all bass strings in general.

Core Wire

All electric bass strings start with a core wire of high-carbon steel, either hexagonal or round. The hex core "bites in" to the wrap wire creating a tighter bond. All things being equal, a hex core string will have a tighter feel with less string excursion, allowing you to set your action lower with out buzz (hence the name "LoRider"). Round core wire has total contact with the wrap wire, and creates a string with greater mass. They tend to produce more depth and brilliance (hence the name "Hi-Beams"), and have a looser feel—allowing you to have higher action with less tension.

Wrap Wire

The wrap layer is what you feel under your hands, and has a significant effect on the tone and performance of a string. Stainless steel and nickel-plated steel are the two different wrap wires that DR uses, (with the exception of the Rare Acoustic phosphor bronze set and the Jonas Hellborg Nickel Alloys). Stainless steel is corrosion-resistant, so the strings typically sound fresh longer, and have a brighter tone than nickel. It is a harder material and so it may contribute to more fret wear if you have an aggressive left hand. Stainless strings have more edge and somewhat of a natural mid-scoop that makes them big favorites for slappers and hard rockers.

Nickel-plated steel strings are not as bright as stainless, but have greater magnetic properties that make them functionally louder. They have a more pronounced midrange that makes them excellent for finger and pickstyle playing (they slap great too, but with more bark), and because they oxidize, will "warm up" faster than stainless.

Wrap Variants

The two most popular types of wrap layers are roundwound and flatwound. DR makes one set of flats, the excellent Highbeam Flats, and the rest of their line consists of roundwound strings. Rounds were developed in the 1960's by Rotosound, and are what most players are familiar with—their aggressive attack and piano-like clarity helped bring the electric bass to the forefront, and sparked new developments in bass amp technology. The well-articulated attack of roundwounds is great for slapping, tapping, hard rock, jazz soloing (Jaco used them on fretless in spite of the potential for fingerboard wear), and any style where you want the bass to take a front row seat.

Flatwounds were the original electric bass string, taking their design from upright bass strings that were designed for bowing. Flats have a warm, full tone that is well suited to old school R&B, blues, country, jazz, reggae, or any style where big, fat, creamy bass is desirable. Flats tend to have less sustain than rounds, and less high end. With a pick, they give you a nice clean attack without the scraping associated with rounds, and for the left hand—they virtually eliminate string noise from position shifts.

Some More DR Facts

DR is known as "The Handmade String", but before you conjure up images of elves sitting around making strings with their tiny hands, realize that there are indeed machines involved in the process. Winding machines hold and spin the core wire while the elves control winding speed and tension as they apply the wrap wire. This is a very specialized process that can take months of training.

DR Strings (with the exception of "Flat Beams") are made without the silk wrap on the end. Their construction design allows them to fit on basses from standard 34" scale to 37.75" scale. If you play a 35" scale 5-string that strings through the body, DRs will definitely fit.

DR makes 4, 5 and 6-string sets in most of their models. The default 5 and 6-string sets include a non-tapered B string, meaning the full thickness of the wrap goes over the bridge saddle. Tapered B strings (where a thinner layer of the wrap goes over the bridge) are also available by special order or as singles.

The Lineup

DR makes 11 different types of bass string, and when you stand at the counter of the Bass Emporium looking past John, Chuck or Kyle at "The Wall Of Strings," making a choice can be pretty confusing. For this review, I'm focusing on 7 different types: Nickel Lo-Riders, Stainless Lo-Riders, High Beams, Fat Beams, Sunbeams, Extra-Life Coated (Black Beauties) and High Beams Flats (I like to call them "Flat Beams"). The ones left out were: Rare Acoustics, phosphor bronze strings intended for acoustic bass guitars; Long Necks, a taper core string; Jonas Hellborg signatures, a nickel alloy string; and Bootzillas a hex-core coated string.

The Test

I put a set of each of the above mentioned strings (gauged 45-65-85-105) on my recently purchased Fender Road Worn Jazz bass—a classic passive, 60's-style J that is sonically familiar to most of you. I recorded the samples direct into Protools through a passive Radial Engineering ProDI using an Analysis Plus Bass Oval cable. No additional eq or compression was used for these samples—you are hearing the raw tone of the bass. A drum loop from Toon Track's EZ Drummer was chosen to give the samples some context. Each type of string was recorded fingerstyle, slap and pickstyle—with each style using the same pattern to make comparison easier. I deliberately chose to play simple lines that would not distract you from listening to the tone quality of the string.

To get the most mileage from these tests, I varied my right hand approach to create different attacks: For the fingerstyle examples, I started each sample by playing longer note values with the right hand positioned between the neck pickup and the fingerboard. The second half of the sample, I moved my right hand down to the bridge pickup and played shorter notes with more emphasis (we call that "staccato" in music land).

The slap examples were fairly consistent through out, I tried to avoid getting too flashy, and played a mix of long tones and short articulations.

The pickstyle examples begin with my right hand picking between the neck pickup and the fingerboard with the string wide open. For the second half of the sample, I brought my picking down to the bridge and used the classic palm-mute technique.

I recommend you listen to these samples with a nice pair of headphones—unless you have your computer hooked up to a decent pair of monitors.

The Samples

Nickel Lo-Riders

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I started with Nickel Lo-Riders. The hex core does indeed create more tension on the neck and I had to tighten my truss rod a bit to get the feel right for my taste. When I play hex core strings, I tend to use a lighter gauge 40-100 set, so I found the 45s to be a little more of a challenge to adapt to when I tried to play anything technical—so keep that in mind if I sound like I suck. The fingerstyle tone exhibits a smooth low end, well-pronounced low mid focus, and a moderate top end. When playing close to the bridge, the string gives plenty of punch and warmth. The slap tone has a raw edge—not your classic silky Marcus Miller vibe, but the mids give the bass an authoritative bark. While this may not represent an ideal "studio slap" tone for some folks, slapping this string in a live context will get you heard and keep the attack strong. Played with a pick, this string really jumps to the forefront. The mid focus and stiffer feel contribute to a pick tone that has plenty of bottom, strong punch and controlled highs without string rattle.

Listen to:DR NMH-45 Nickel Lo-Rider (.045-.105) Strings - Fingerstyle

Listen to:DR NMH-45 Nickel Lo-Rider (.045-.105) Strings - Pick

Listen to:DR NMH-45 Nickel Lo-Rider (.045-.105) Strings - Slap

Stainless Lo-Riders

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The stainless version of the Lo-Riders had similar string tension, I left my truss rod adjustment the same as it was for the nickels. Immediately, I felt a different texture under the hand—the stainless wrap felt a little more "grabby" to my fingers, but my past experience with this string reminded me that after a few hours of playing (or one slice of pizza) that quality goes away. Compared to it's nickel counterpart, the stainless LoRider has a more pronounced low end, in part due to the scoop in the midrange response—a quality that is very obvious from the first notes of the fingerstyle sample. Down by the bridge, you can hear more overtones in the high register, which means more cutting power in a crowded mix. The slap tone is more in line with my preference, the natural mid-scoop accentuates the bottom, and the highs are more present. Again, for my taste, I think the 40-100 set might have given me my ideal string tension for slap, but I survived. Comparing the pickstyle samples of the stainless and nickel sets, I definitely hear the nickel as being louder. The stainless is a little more polite here, but certainly has more zing, and that translates into increased attack and more cut.

Listen to:DR MH-45 Stainless Lo-Rider (.045-.105) Strings - Fingerstyle

Listen to:DR MH-45 Stainless Lo-Rider (.045-.105) Strings - Pick

Listen to:DR MH-45 Stainless Lo-Rider (.045-.105) Strings - Slap

Sunbeams

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This nickel round-core string exhibits many of the same tonal characteristics of its hex-core counterpart. Round bottom, pronounced low-mids, smooth top end, and a smooth feel under the hand. The difference in string tension allowed me to loosen my truss rod a bit. The fingerstyle tone was warm and full, less aggressive than the Lo-Riders. The slap tone was very much inline with the nickel Lo-Riders with in-yo-face mids and a crunchy top end. The looser feel made it more inviting for my left hand to instinctively add some embellishments. The pickstyle tone seemed to have more bottom than the LoRider—I could attribute that to the increased string excursion created by the round core.

Listen to:DR NMR-45 Sunbeam (.045-.105) Strings - Fingerstyle

Listen to:DR NMR-45 Sunbeam (.045-.105) Strings - Pick

Listen to:DR NMR-45 Sunbeam (.045-.105) Strings - Slap

Hi-Beams

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The DR stainless version of the round core string has the full bottom, mid scoop and extended top end of the hex core counterpart, but with a looser feel that makes for less work in both hands (unless you like higher action). The fingerstyle tone is big and round, with nice detail in the top. Slapping with Hi-Beams gives you the studio-ready tone that bassists crave. The low-end thump is accentuated by the string's mid scoop, the highs are crystal-like, the feel is supple and techniques like sliding and bending are a breeze. The pickstyle sample exhibits some string "pepper" which is a nice way to say rattle. I personally like a little of this in my sound, it adds some zip, and the detailed highs make it sound musical. The round core once again gives this string a perceived increase in volume over the stainless hex core—I guess it's safe to say that is IS louder. I recorded these samples at the same levels, so there you have it.

Listen to:DR MR-45 Hi-Beam (.045-.105) Strings - Fingerstyle

Listen to:DR MR-45 Hi-Beam (.045-.105) Strings - Pick

Listen to:DR MR-45 Hi-Beam (.045-.105) Strings - Slap

Fat Beams

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Fat Beams are also known as the "Marcus" string, named after famed bass pioneer Marcus Miller. They are constructed with the same materials as the Hi-Beams, but at Miller's request, they are wound at half speed. DR has long claimed that this process gives the string more bottom, and while I have been using them for many years on my '74 Fender Jazz (my designated Marcus bass), I can't say I've ever noticed the difference. I have always liked them because they are Hi-Beams, so I never felt it was a point either way. However, while conducting these tests, I had the opportunity to record one set right after the other and listen to them under the "microscope," and lo and behold—they DO have more bottom. What at first sounded like marketing hype became reality once I compared them side-by-side. Hear for yourself—no compression, no eq, just raw bass—headphones are suggested.

The fingerstyle tone has all the good stuff the Hi-Beams offer, but the low end is pumped. It's not that they are louder down there, but the low end extends out to a wider range, more cush for the tush you might say.

Slapping on the Fat Beams provides that extra ounce of low end that sometimes gets lost with this technique. The supple feel of the round core makes them respond nicely to the thumb slap, and the pop is not as harsh as with hex cores. To my ears, the slap sample seems to have slightly less high end than the Hi-Beams, something I could attribute to the masking effect of the wider low spectrum. On an active bass (like... a mid-70's Jazz perhaps?) these strings have all the high end you could ever want, and if you dig Marcus... well, this is what he plays. Pickstyle was the same deal, increased low frequency over the Hi-Beams with the same detailed highs and controlled mids.

Listen to:DR MM-45 Fat-Beam (.045-.105) Strings - Fingerstyle

Listen to:DR MM-45 Fat-Beam (.045-.105) Strings - Pick

Listen to:DR MM-45 Fat-Beam (.045-.105) Strings - Slap

Extra Life Black Beauties

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Undoubtedly the biggest surprise for me was how much I loved these strings. From the minute I put them on the Jazz, I was knocked out with the tone and the feel. These are coated strings, and unlike other manufacturers implementation of this idea, the wrap wire gets coated before winding it on the core. These are not strings dipped in goop that kills sustain and shreds after a few weeks of playing. Worth mentioning: Extra Life strings are also made in a rainbow of colors, including Peacock Blue, Hot Pink, Silver Stars, Evergreen, and Red Devils—so you can get freaky if you wanna.

The coating gives the string a slick feel, and definitely decreases the string noise that comes with position shifting. The main purpose for the coating of course is to make the string last longer, sealing the wrap wire from moisture and grease, thus extending their freshness zone. I will confirm that claim as I took the Black Beauties out on two gigs before recording these samples, the second of which I ate a greasy hamburger on the break and went up to play immediately without washing my hands (something my momma always warned me against). But the viscous slime of animal fat, ketchup, and pickles rolled off like water off a duck's back—next time I'll try some Texas barbeque!

The Extra Life strings have a round core and start with a stainless wrap wire, so tension-wise they were on par with the Hi-Beams and Fat Beams. Fingerstyle, they exhibit a huge rounded bottom—even more pronounced than the Fat Beams, but with less mid-scoop. The coating may taper the high-end zing a bit, but the overall effect is a balanced tone that seems well-suited for any type of playing. Slapping the Beauties also confirmed the presence of more mids than the Hi-Beams or Fat Beams, and slightly less highs. This is more noticeable on a passive bass, but a preamp would bring them out. The strings are not dull sounding, just not as hyped in the high end as a non-coated string. Played with a pick, the Extra Life strings have big bottom, like the Fat Beams, but greater mid presence like the nickels. The high end is there for the attack, but a nice upper-mid grind also comes through, making me envision adding a little tube saturation for a killer rock tone.

Listen to:DR BKB-45 Black Beauty (.045-.105) Strings - Fingerstyle

Listen to:DR BKB-45 Black Beauty (.045-.105) Strings - Pick

Listen to:DR BKB-45 Black Beauty (.045-.105) Strings - Slap

Hi-Beam Flats

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Flatwounds in general have made a big comeback, and while DR was late in the game coming out with their own version, they took the time to get it right. Flatwounds are an entirely different animal, and frankly, not everyone can appreciate what they offer. During the '80s we saw the development of the super glassy, hi-fi bass tone. DR strings certainly added their contribution, as well as amp companies like Eden and SWR. The dark, thumpy flatwound string seemed useless until artists like Beck made retro bass tone cool again, in addition to the growing awareness of the work of Motown session bassist James Jamerson (with much thanks to Dr. Lick's seminal work Standing In The Shadows Of Motown).

Played fingerstyle, the Hi-Beam Flats have a well-balanced tone, rounded low, punchy mids and a hint of glass on top. Played up near the neck, the flats have a wide-open character, but digging in at the bridge, they get punchy and direct. The smooth wrap eliminates most string noise. Many flats suffer from lack of note definition on the E string, but not the DRs. Over time, the E does get thumpier, but for me—that is part of the whole old-school esthetic. Slapping on flats is an acquired taste, but consider that Larry Graham's earliest tracks like "Thank You (Fallettinme Be Mice Elf Agin)" and "Hair" were recorded with flats. This slap sample goes sonically right back to the late '60s/early '70s when those tracks were recorded. The E string doesn't sustain as much as I might like with this technique, and while the round core does temper the flatwound's tendency to be a bit stiff—the feel is not my preference for this technique either. Still, if I wanted to capture the essence of early Larry Graham, I'd go for this setup (but on a '70s era Jazz). Pickstyle with flats is one of my favorite bass textures! Flats give you a woody click that rounds can't provide, and the DRs have enough high-end to bring that right to the front. The warm bottom supports this nicely and when muted, the strings really pump up the impact.

Listen to:DR FL-45 Flat Wound (.045-.105) Strings - Fingerstyle

Listen to:DR FL-45 Flat Wound (.045-.105) Strings - Pick

Listen to:DR FL-45 Flat Wound (.045-.105) Strings - Slap

Conclusions

This test was very eye opening for me, even though much of what I had already believed about DRs, and bass strings in general was confirmed. While I have used most of these strings at one time or another, the chance to put them on the same bass and examine the results closely was a very interesting process. I hope it proves to be as enlightening and useful to you as well.

Here is the condensed version of what I personally took away from these tests, in very general terms (your results may vary): Nickel strings would be my choice for finger and pickstyle, stainless for slapping, Nickel Lo-Riders for aggressive rock, round core for slap, Fat Beams for an active slap sound, Hi-Beams for a passive slap tone, Black Beauties for everything (they went back on the Jazz after all the testing was done!), and DR Flats for big, fat, rootsy bass tone (which is 90% of what I do here in Austin).

I can say without question that every single string of every set played sounded great on it's own terms. The integrity of the fundamental, the purity of articulation and the accuracy of the overtones and harmonics was consistently top notch throughout the entire range. And while many folks have a perception of DRs based on experience with one type of string, these tests confirmed for me that DR offers a wide tonal palette, with varying tensions, feels, and even colors. With the help of this information, I think you will find the DR string that matches your needs exactly.

Thanks to Tony Pinheiro at DR Strings for supplying the strings for the test, and to my Ryobi cordless drill and Dean Markley Turbo-Tune attachment for making the work of changing 28 strings on vintage Fender gears less torturous.

Ed Friedland is a renowned Bassist, Educator and Author. He has authored over 15 books and DVDs and has played with the likes of Joe Beck, Larry Coryell, Robben Ford, Paul Horn, Clay Jenkins, Mike Metheny, Bud Shank, Lew Tabackin & Michal Urbaniak to name just a few. Ed is also currently teaching at Bass Emporium in Austin, Texas. Check out the Ed Friedland website for full information about him at http://www.edfriedland.com/.

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Eu uso Elixir com nanoweb porque têm um timbre mais brilhante ou estalado, se preferirem, e mantêm-no por mais tempo. A durabilidade também foi um factor determinante, antes mudava de cordas de 2 em 2 meses e agora mudo de 6 a 8 meses. Antes usava calibres com igual intervalo: 40-60-80-100-120 mas desde que comprei o SR5 optei por usar o calibre recomendado pela marca: 45-65-80-100-125 e comecei a gostar mais dele. Com este calibre fico com o Si mais rijinho, um Mi e um Lá com maior sustain e um Ré e um Sol com melhor ataque no popping.

Também uso cordas Fender Black Nylon 9120 no meu baixo acústico. Dão um timbre mais redondinho e cheio. Assim tenho dois baixos com sonoridades completamente diferentes. Nos restantes baixos costumo meter D'Addario XL Niquel Roundwound ou Ernie Ball Super Slinkys, pelo preço mais baixo, nos calibres 45-65-80-100 para 4 cordas e 125 para a 5ª.

Não gosto de cordas com muita tensão pois dá-me a sensação de um baixo mais "preso" e preciso de atacar a corda com maior precisão, o que me torna mais lento mas também não gosto das cordas muito lassas pois o som embrulha-se todo. Gosto de uma tensão média que permite comodidade a tocar mas ao mesmo tempo tem ataque e definição na nota.

Abraços

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Elixir. O tom é agradavel e duram muito mais tempo do que qualquer outro acordoamento que tenha usado antes.

No fundo o tom que pretendo tende a ser relativamente conservador, nao consigo tocar com GHS por exemplo, acho que tem um brilho excessivo, por outro lado existem acordoamentos que me da vontade de ter num baixo em separado, tipo Smith Slap Masters, so para aquele acordoamento. No fundo procuro algo lá pelo meio, versátil e com um tempo de vida decente.

Antes de me mudar definitivamente para as Elixir usei Warwick Black Label durante um monte de tempo, o custo e trabalho de estar constantemente a mudar de cordas acabou por ser o factor determinante em mudar para Elixir. As Warwick não me duram tempo nenhum. Curiosamente as Yellow Label tem maior tempo de vida nas minhas mãos, mas o tom não é comparável as Black Label.

Nos Fretless uso Fender Flatwounds 100-50. Por nenhum motivo em especial, para ser honesto nao mudo de cordas nos fretless com a frequencia com que mudo nos fretted, nao tenho experiencia suficiente com outras marcas para ter uma opinião minimamente informada sobre o assunto. Passei algum tempo com Earnie Ball Flats...honestamente em termos de tom nao notei grande diferença, embora as Fender me pareçam melhores em termos de toque.

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Eu sou um dos que desistiu de elixir...Não gosto do seu timbre após algum tempo de uso, nada mesmo...

Uso ernie ball 45/100 ou GHS com a mesma tensão, ideal para o tipo de som que quero sacar.

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Eu sou um dos que desistiu de elixir...Não gosto do seu timbre após algum tempo de uso, nada mesmo...

Uso ernie ball 45/100 um GHS com a mesma tensão, ideal para o tipo de som que quero sacar.

HAHAH, curte o meu edit (que fiz enquanto escrevias) temos gostos completamente antagónicos. LOL

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Em 4 cordas, em geral, Ernie Ball 45-100, pela tensão, pelo brilho, pela relação preço/durabilidade. São as minhas preferidas.

Ocasionalmente, usei Sadowsky Black Label, que até curti, e Blue Label, q detestei. Para o preço, foram decepcionantes. Pelo contrário, as velhas D'Addario são fixes para o preço e são as q meto qd esgotam as EB.

No 5 cordas estão umas RotoSound de aço: timbre quente, "dark", boa durabilidade, tensão adequada e equilibrada.

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Eu uso Ernie Ball 45 - 130.

Como diz o mestre anton:

- gosto pelo timbre e brilho QB (já que os G&L por vezes tem tendencia ao excesso de brilho através do switch de high boost)

- pelo equilibrio nas mesmas como conjunto;

- pela optima relação preço / qualidade das mesmas

- depois de perderem o brilho, continuam com um som muito engraçado, qo qual eu aprecio bastante.. (confesso que a ultima vez que troquei de cordas foi a cerca de um ano :facepalm: )

e pronto.. :psycho2:

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Reparei que na última questão da poll está tudo a votar em round core, mas atenção que a pergunta refere-se ao core (núcleo da corda) e não ao winding (enrolamento)...

Acho que o mais comum (nas que têm referido) é hexagonal.

Edit: Adicionei o Winding e "resetei" :facepalm: o Core :psycho2:

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HAHAH, curte o meu edit (que fiz enquanto escrevias) temos gostos completamente antagónicos. LOL

eheheh se fossem assim tão antagónicos não seriamos baixistas :facepalm:

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ja agora, so um detalhe: o custo das Elixir aqui nos states é menos de metade do preço em Portugal (~30USD / ~50EUR pelo pack de 4 cordas), se estivesse por terras lusas talvez pensasse duas vezes antes de comprar Elixir. E estaria a mentir se dissesse que esse factor nao conta para a decisao.

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