The last few years have seen a number of developments in the role and sound of the electric bass, and there is now a far wider choice of string types available than ever before. With strings priced at between £7 and £16 a set, experimentation with new types can be a very expensive process. On the other hand, if you are looking for a different sound, experimenting with different strings works out a lot cheaper than experimenting with different amplifiers, speakers or basses, and will often give far more radical results. Don't forget that your sound starts with your string, and it is important to know the differences.

When buying strings, ask the dealer if you can inspect each string individually (without uncoiling it). Look out for loose or overlapping windings, rust, poorly wound and lumpy silk bindings (especially at the bridge end), and too long a binding at the bridge end. Reject those strings. The dealer should return them to the distributor or manufacturer. The greatest problem with bass strings is quality control — especially the consistency of quality from packet to packet. This problem occurs with guitar strings as well, but bass strings are heavier on the wallet and it is up to you to ensure value for money. I recently bought a set of strings without checking them and found a broken E-string in the set when I was halfway through a tour and unable to replace it. Also, I have often found strings of different makes in packets. In fairness to the retailer this may well have been the result of the bassist before me going through the strings, but always check that the colours of the silk bindings match the colour used by the particular manufacturer. I will be covering the different makes in detail, and will list the colours of the bindings where possible.

When deciding what strings to use you will already have a good idea of what sound you want. If you are working in a wide variety of styles, and can't afford to have more than one instrument, you must find a versatile string which suits you and your bass. If you are working in a specialised area you can afford to be less compromising in your sound. On the whole, heavier gauges are better for live work, especially with indifferent amplifiers, as you can play more quietly and still get a big, strong sound without straining the amplifier and speaker's resources. Light and medium gauge strings tend to record better as they give more top and are less woolly. However, it is best to try and find the string which best suits the bass. Most new basses come supplied with light to medium gauge strings. It is not wise to put a much heavier set on immediately as this can easily bend the neck.

If you want to put on heavier strings, move up a gauge every few weeks allowing time for the wood to settle, and check the neck for bending each time, even on an older instrument. A little bending is to be expected, and can easily be corrected by a minor adjustment of the truss rod. Also, remember to check your harmonics at the 12th fret whenever changing strings, best done with the aid of an electronic tuning device such as a Strobotuner. If you can't make these adjustments yourself, go to a dealer or repairer and try to watch and learn how it is done. If the neck bends too much, or the harmonics won't go in, then (assuming that there is nothing drastically wrong with the bass) you simply have the wrong instrument. However, faulty E-strings are common, especially in flatwound sets, and these won't play in tune properly in the top register. So don't be too quick to blame your bass. Don't expect a bass with a thin neck, such as a Fender Jazz, to take heavy strings.

When you try a different set of strings on your bass, listen to how they sound acoustically rather than plugging straight into your amp. It is too easy to disguise a weak sound by throwing the amplifier bass setting straight on to 10. If you kid yourself in this way you will be causing problems for yourself and the recording engineer when you come to record direct inject in the studio. When you check the sound through your amplifier, try to keep the tone controls flat (usually half way). The amp should reproduce most of the tone variations you can get acoustically. If it doesn't, then have your pickups checked. Always remember that your sound starts with your strings; remember too that you are more adaptable than your instrument, therefore you should choose the strings that suit your instrument rather than the ones you think you ought to play. If you disagree with your bass too much then change it rather than force it to behave out of its character.

If you clean your strings after each performance they will last much longer. Wipe them with a lint-free cloth, and occasionally clean them with a cloth soaked in methylated spirits or (even) lighter fluid. Roundwound strings can be coiled in water with a little washing-up liquid to clean them, but this weakens them considerably as the silk bindings are damaged in the process. If you use spray-on furniture polish to clean your bass, be careful not to get any on the strings, as it will corrode certain metals.

All bass strings are made of wire wrapped around a central core. This core is generally made of a single wire (hexagonal or round in cross-section), generally of steel. Some manufacturers claim that the hexagonal core provides a better grip on the wrapping, contributing towards a more consistent, longer-lasting string. Rotosound and some other manufacturers produce a multicore string, where the core is made up of different wires (often of different materials) twisted together. This process results in a far more flexible string.

The main difference in string types lies in the final wrapping. The different types of string are: flatwound (also known as tapewound); nylon flatwound; roundwound; and halfround (also known as groundround).

FLATWOUND STRINGS

Up until the early Sixties just about all bass strings were flatwound. These strings are made by winding up to three layers of round wire on to the core, depending on the required thickness of string, and then adding a layer of flat metal ribbon or tape to give a smooth finish. Unless a multicore has been used, the flatwound string will have more tension than the equivalent gauge roundwound string. Flatwound strings give a deep, heavy, punchy sound which sits in well with the bass drum, but are less lively than roundwounds and have less harmonic response. However, some manufacturers of flatwounds have been trying to respond to the fashion for a more toppy bass string by producing strings known as brightflats ('Brite-Flats' in American). Some flatwound strings are burnished to a very smooth finish, with no visible gaps in the tape winding, while some are left a little rougher. As a rule, the smoother string will give a softer, more bassy sound, and will last longer than the rougher string as there is nowhere for dirt to accumulate. A good set of flatwound strings can last for years; in fact Fender basses of the Fifties with the original strings on are avidly sought after by some bassists! A variation on the flatwound string is the nylon tapewound string. These are made by using nylon tape or plastic tubing for the final wrapping, and give a very deep wooden sound, rather like the old-fashioned string-bass sound. They are usually black in colour (Ernie Ball make red ones too) and pretty stiff in action. They are good on cheap, poorly-made basses as they give a fairly consistent sound throughout their range and don't readily show up fret buzz. But they tend to go dead quickly, and heat up sufficiently to burn your fingers if you slide your left hand (assuming you play right-handed) up them. Here is a list of most of the flatwound strings on the market, with comments on those I have used. All gauges are given in inches, and all strings are long scale unless otherwise stated.

Ernie Ball

These are available in sets in four gauges, or individually. Some packets are stamped: 'Not for short-scale basses', or 'Not for long-scale basses', but in my experience they are all long-scale. Perhaps the manufacturer or distributor would like to comment. When these strings appeared on the market they were, to my mind, the best and most consistent flatwounds available. They are quite smooth, yet give a fair amount of bite and top. Recently, however, I have noticed that they often suffer from a dead E-string. The silk bindings on these strings are black.

The sets comprise: I — E .110, A .090, D .075, G .055; II — E .105, A .085, D .070, G .050; III — E .100, A .075, D .065, G .045; IV — E .095, A .070, D .060, G .040.

Ernie Ball Nylon Tape: These are known as Ernie Ball Black Tubes or Ernie Ball Red Tubes. No gauge details are available.

Fender

These strings have suffered from indifferent quality control in recent years and are very inconsistent. The green silk bindings at the bridge end are frequently too long and protrude over the bridge and into the speaking length of the string. The extra binding can be burnt away, but frequently you find that the string is poorly wound underneath, with overlaps. By checking through several packets it is possible to make up one good set of Fender strings. This is worth the effort if you are after the traditional Fender bass sound — a good set of these strings can be very long lasting. These strings are made in lengths corresponding to the straight line machine-head arrangement used on Fender basses. If you are using a bass with Gibson- or Rickenbacker-type head (with two pegs on each side), check that the A-string is long enough.

The sets are as follows: F950, and F900 (short scale) — E .095, A .075, D .061, G.053; F850 — E.105, A.090, 0.071, G .055; F80 — E .095, A .080, D .064, G .050; F700 (six-string bass) — E .095, A .075, D .054, G .044, B .034, E .026.

The F850s are normally used only on the Precision bass.

Rotosound

These are good consistent strings. They are cheaper in Britain than most American flatwounds, but are not as long lasting as some. The Jazz Bass strings have a nicely balanced sound with a fair amount of tension, while the Multicore strings are softer in feel and sound, with more bending possible.

The silk bindings are red. Jazz Bass: RS77S/M (short to medium scale) — E .088, A .075, D .054, G .041: RS77L/EL — E .108, A .097, D .076, G .051. The Multicore flatwounds come in the same gauges under the numbers RS70FS/M and RS70FL/EL. Rotosound gauge selection Jazz Bass RS77 are available individually in gauges from .110 to .030. Rotosound now gauge their strings in millimetres only as their contribution to Common Market confusion.

La Bella

These are currently my favourite flatwounds. In my opinion they used to be the best some years ago, and have recently made a comeback after a decline. They are punchy and well-balanced with good bite and wide harmonic response. They also last well and sustain well. They are heavier than most other strings, especially on the E- and A-string. The heavier gauges are only recommended for strong necked basses, and I would not put them straight on to a brand-new instrument. The heavier E- and A-strings are great for stage work, but can be a little woolly in the studio. The silk bindings are blue.

760H — E .111, A .093, D .075, G .055; 760M — E. 109, A .089, D .069, G .049; 760L (available in all scales) — E .104, A .084, D .065, G .043; 760XL (available in all scales) — E .102, A .079, D .059, G .040.

Gibson

These strings are extremely smooth and soft, especially the Nickel/Silk & Steel set. They are the longest string on the market.

Sets are: Observers G00L9 — E .100, A .080, D .062, G .050; Hi-Fi G0055 — E .096, A .075, D .054, G .048; Nickel/Silk & Steel G055 — E .090, A .079, D .058, G .046.

GHS

GHS make a fine, smooth, flatwound string. These are not currently available in the UK, but will be obtainable shortly from Roka's, (Contact Details). See also GHS Brite-Flats.

Precision Flatwound (all scales): 3025/3020 — E .095, A .075, D .060, G .045; 3050/3000 — E .105, A .090, D .070, G .055.

D'Angelico

600F — E .112, A .095, D .076, G .053; 600FM — E .111, A .095, D .076, G .055; 600FL — E .109, A .089, D .069, G .049; Nylon Tape 600N — E .117, A .101, D .072, G.061.

Music Man

These strings, produced for Music Man basses, are similar to Ernie Ball. If you are using them on another bass, check string lengths.

MMFWM — E . 105 to G .055.

Guild

F400H — E .110, A.090, D.075, G.055; F400M — E .105, A .085, D .070, G .050; F400L — E .100, A .080, D .065, G .045; F400XL — E .095, A .070, D .060, G .040.

Darco

(not available in UK)

Nickel Flatwound: D380 — E .108, A .092, D .072, G .054. Polished Flatwound: D400 — E .102, A .074, D .054, G.040.

Dean Markley

(not available in UK)

FWM — E .105, A .085, D .070, G .050; FWL — E .100, A .080, D .065, G .045.

Nashville Straights

(available to order from Strings & Things in UK)

MS300L — E .100, A .080, D .065, G .045; MS300/SS300 (medium and short scale) — E .095, A .075, D .055, G .040; XLS-300/LS-300R — E .105, A .085, D .070, G .050.

Picato

PC738L — E .102, A .085, D .061, G .047; PC738M (medium scale) — E .090, A .074, D .052, G .040. Nylon wound: PC-736M/736L (all scales) — E .115, A .098, D.072, G.060.

Vinci

678 — E .108, A .092, D .072, G 054.

D'Addario

J-5IL — E .108, A .092, D .072, G .054; J-5IS (short scale) — E .102, A .085, D .070, G .050.

Sound City

Flatwound: 8000M/L (medium and long scale) — E .105, A .094, D .072, G .047; Nylon Flatwound: E .116, A .099, D .070, G .059.

ROUNDWOUND AND HALFROUND STRINGS

Roundwound strings are made in the same way as flatwounds, except that the final winding is of a round steel, nickel or nickel-alloy wire, instead of flat tape. These strings are very lively, with more sustain and better harmonic response than flatwounds. They are better for soloing as they are brighter, but lack the punch and depth of flatwounds. They respond better to slapping and produce a snaredrum-like crack when snapped against the fingerboard.

When new, they sound very twangy and bright, and are more bendable than flatwounds. However, the rough surface creates a lot of unwanted finger noise, and they tend to eat up the frets and fingerboard, especially steel strings which have better magnetic response.

Recently the halfround string has been developed. This starts out as a normal roundwound string, and is then shaved, buffed, polished or pressed to a flat surface, retaining most of the qualities of a roundwound string, with the smoothness of a flatwound. Apart from the savings on fingers and frets, the halfround string can be regarded tonally as either the ideal compromise or the worst of both worlds. In practise I find that these strings work best on a bass with a wide harmonic response. Halfrounds generally have more tension than roundwounds, but give an easier action than flatwounds. Here is a list of makes and gauges available.

D'Addario

D'Addario are the pioneers of halfround strings. Their strings are very consistent and generally perform very well. The colour of the silk binding varies from set to set.

Halfrounds: HR70 — E .095, A .075, D .060, G .040; HR71 (all scales) — E .100, A .080, D .065, G .045; HR72 — E .105, A .085, D .060, G .050; HR73 — E .110, A .090, D.075, G.055.

Roundwounds (not generally available in UK): XL230 — as HR 73; XL 160 — as HR 71; XL220 — as HR 70.

Fender

Fender roundwounds are softer in sound and feel than most, and tend to be a little dead on the E-string. They are wound tighter than most and last very well. They have no silk binding and are available in only one gauge: F90 (Nickel Roundwound) — E .115, A .085, D .065, G .053.

Ernie Ball

These are available in four gauges (as for the flatwounds), so I won't list them again. They are generally good strings, but suffer a little from the same problems as the Ernie Ball flatwounds.

Rotosound

Rotosound were the pioneers in round wound strings. They produce them in a variety of gauges, available individually ('Gauge Selection' — see SI May '78). They also produce a multicore roundwound string. A recent addition to their range is the Superwound string. This is a roundwound string, but only the core passes over the bridgepiece; the winding starts there. This design greatly increases sustain. Aside from the Superwound strings, Rotosound roundwounds are cheaper than most others in the UK. They generally have a rougher finish than most American roundwounds, giving more top and twang initially, but not a very long life. They are very consistent and very popular. The silk bindings are red.

Swing Bass: RS66SM (short and medium scale) — E .089, A .074, D .050, G .038; RS66L/EL — E .102, A .080, D .063, G .046. Multicore RS70R all scales.

Rotosound Swingbass RS66 are available individually in gauges from .105 to .030.

D'Angelico

600RS — E .104, A .080, D .068, G .054.

GHS

GHS make Brite-Flats which are actually a shaved roundwound string, but are closer to a flatwound in feel and appearance. To my mind they are the best attempt yet at a happy medium between flatwounds and roundwounds, and are very well made and consistent. Their Boomers are roundwound strings made from a special alloy with strong magnetic response, and are very loud and toppy but not very long lasting. Their GUS roundwounds are made of nickel and are longer lasting but not as bright as the Boomers. The silk bindings are navy blue. (For availability in the UK see GHS flatwounds.)

Brite-Flats: L-3075 — E .098, A .077, D .056, G .045; M-3075 — E .108, A .084, D .062, G .049. Boomers: H-3045 — E .115, A .095, D .070, G .050; 3035 (short scale) — E .107, A .090, D .070, G .050; 3045/3040 (long and medium scale) — E .105, A .085, D .065, G .045; L-3045 — E .095, A .075, D .055, G .040. GUS: 3090/3080 (long and short scale) — E .102, A.080, D.068, G.054.

La Bella

Both the halfrounds and the roundwounds are good quality and consistent. The halfrounds are a little brighter than most. The silk bindings are blue.

Deep Talkin' Bass Semiround: Nickel 200: 7BNH — E .114, A .095, D .075, G .055; 7BNM — E .108, A .085, D .075, G .048; 7BNL (all scales) — E .106, A .082, D .060, G .043; 7BNX (all scales) — E .096, A .077, D .056, G .039. Round wound: 760R-H — E .110, A .090, D .075, G .055; 760R-M — E .105, A .085, D .070, G .050; 760R-L (all scales) — E .100, A .080, D .065, G .045; 760-XL (all scales) — E .095, A .070, D .060, G .040.

Sound City

Round wound (medium or long scale): 7000M/L — E .105, A .080, D .065, G .045.

Vinci

(694 not available in UK)

Round wound: 693/694 (long or short scale) — E .098, A .084, D .062, G .055.

Dean Markley

(not available in UK)

Ground Roundwound (Halfround): GRWM — E .105, A .085, D .070, G .050; GRWL — E .100, A .080, D .065, G .045. Roundwound: RWM — E .105, A .085, D .070, G .050; RWL — E .100, A .080, D .065, G.045.

Music Man

Bass Brights MMBL/MMBM — .045 to .098, and .049 to .108.

Gibson

Snapper G-0085 — E . 104, A .082, D .066, G .047.

Guild

R-400H (all scales) — E .110, A .090, D .075, G .055; R-400M — E .105, A .085, D .070, G .050; R-400L — E .100, A .80, D .065, G .045; R-400XL — E .095, A .070, D.060, G.040.

Picato

Roundwound: PC-735L — E .102, A .084, D .061, G .047; PC-735M — E .090, A .075, D .050, G .038. Halfground: PC733L (no gauges available).

Nashville Straights

Round wound: MS200/SS200 (medium and short scale) — E .095, A .075, D .055, G .040; LS-200L — E .100, A .080, D .065, G .045; XLS200/LS200R (long to extra long) — E .105, A .085, D .070, G .050. (See flatwounds for availability).

Steve York is a freelance bassist who has worked with Elkie Brooks, Joan Armatrading, Dr John, Marianne Faithfull and Isaac Guillory, among others.