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All About Roundwound Strings
All About Roundwound Strings, with GHS’s Jon Moody…
I’ve been wanting to talk about the importance of strings on our overall playing experience and tone. In particular, I’ve been wanting to pick the brain of Jon Moody, GHS product specialist and bassist extraordinaire, to get his take on some of the finer points of bass string design and manufacturing, as someone with intimate working knowledge on the subject. Not only is Jon GHS’s bass string guru, but he is also a heck of a seasoned working player and a fellow contributor to Bass Musician Magazine. I knew a thing or two about bass strings going in, but it’s been really interesting to get his perspective on all things roundwound. And I have to say, with as much attention as we put on our instruments and amps, and even pickups, many players are quick to underestimate the importance of their strings. Even those of us who know that we prefer “nickel” or “steel” strings aren’t always thinking about core material and size, winding/construction type, and other subtle but important aspects that can make or break our comfort and enjoyment on the instrument. Jon was kind enough to humor my inquires, and what follows are his reflections on these topics.
Nickel and Steel
The most obvious thing that comes to mind when choosing roundwounds is nickel vs steel. It’s the main thing we think of in differentiating between rounds because to be fair, it’s how roundwound strings are mainly classified and marketed to us. And for good reason – the outer wrap of the string has a big impact on how a string feels and sounds. But it’s not always quite that simple. Conventional wisdom says that nickel strings feel smoother to the touch, and have a warmer tone, whereas steel has a bit of a rougher, tackier feel and more upper harmonic content, giving it more bite in the upper register and upper mids. However, as Jon puts it: “a lot of the smooth feel comes down to the diameter of the final cover wire. A smaller final cover will feel smoother than a larger one. With that, you can easily make a steel string that is smoother to the touch than nickel, simply by playing with the diameters of the final cover”. Not to mention, that the brightness of a string is also largely affected not only by the outer wrap but the inner windings as well. “A nickel E string (that traditionally has three covers) that has stainless for two and nickel for the final might wind up sounding brighter than a stainless-steel E string with nickel covers and a stainless final.”
And to make things even more interesting, all “nickel” strings, for example, are not created equal. The difference between nickel-plated steel and pure nickel is significant. As Jon says, “What we typically refer to as “nickel strings” are actually a nickel-plated steel (usually 8% nickel plating, but some use a 5% or 2% nickel plating). Pure nickel gives you a deep fundamental sound and was one of the original string materials used. For those players wanting a more “authentic” sound but don’t want to play flatwounds, pure nickel strings are a good option. The other really popular one is nickel-iron, or Alloy 52. It’s used because of its magnetic properties, which provide more output from the strings to the pickups. A lot of players assume this means that you get a bigger sound from your instrument – which is true! – but I find that with the higher output of the strings, it allows you to play with more dynamics, as the quieter you play, you still retain focus and sound.”
String Core Type and Size
In addition to winding and wrap material, core type has a big effect on the feel of a string, in terms of its flexibility and the way it behaves. You’ve probably seen “hex core” and “round core” on string packaging. Core type is significant enough that GHS even offers their famous Boomers bass strings in both core types, which speaks to the degree to which core type can affect the string. Jon says “a hex core string will “feel” stiffer than a round core string with the same diameter… For tone, I find the round core strings have a slightly softer top end that isn’t pronounced.”
Beyond the type of core (round vs hex), the diameter of the core material also plays an important role in how we perceive the feel of a string. “The larger the diameter of the core, the stiffer the string will be. This is how you can get a hex core string to “feel” like a round core string; use a smaller core diameter. Conversely, this is how you can make a set of strings specifically designed for down tuning; use larger core diameters. In terms of tone, a larger core tends to favor a slightly bigger sound with more fundamental, while the smaller core gives more flexibility and harmonic content.”
Tapered Core Strings
You may have noticed string sets with tapered B strings which claim to result in better intonation, as well as exposed core strings that are often marketed as being more “piano-like” in their tone. These strings have fewer windings at their contact point with the bridge, or in the case of exposed core, are just a thin core material at the bridge. Jon’s take is that “Tapered/exposed core strings allow you to better intonate lower strings. How many times have we bottomed out a B string saddle while trying to adjust the intonation of a new set of strings? The taper/exposed core strings address this issue, while also giving you a slightly brighter sound, more focused overtones, and a different feel. It also facilitates stringing up larger gauge strings in a top-load bridge. There are “full sets” (anything smaller than the D string is usually not tapered as it’s too little)” tapered/exposed core strings out there, but most of the sets you see offered utilize the taper on the B string.”
String Gauge and Tension
Moving on to string gauge. And man, there are a lot of options here. Light, medium-light, medium, medium-heavy, heavy, light top medium bottom, balanced tension, etc… It can be truly overwhelming. Ultimately gauge preference comes down to feel. Some people prefer lighter gauge strings for their flexibility and enhanced harmonic content. Some players prefer medium or heavy strings either because of the taut feel, or the fuller tone of medium or heavy strings. This is all purely subjective, and usually, it’s pretty obvious to a given player what type of gauge works for you. String gauge and string tension go hand in hand, and if you play with a lighter or heavier touch, you’ll probably have an inherent preference for string gauge.
Speaking of tension, the seemingly recent trend around “balanced tension sets” with funky-looking nonlinear string gauges, which are advertised as offering more consistent string tension from string to string are becoming increasingly popular with several big brands. I asked Jon about balanced tension string sets: “To a point, balanced gauges have been around for a very long time. If you look at classical strings, they’ve been focused on this for hundreds of years. Strings were originally designed by feel; someone would play a set, say “this string feels a bit stiff,” make adjustments, and move forward. The actual “gauge” of a string wasn’t given that much credence. As long as the set felt even and balanced, it was good. The biggest benefit is consistent tension. If you have a set of strings that is “top-heavy” or vice versa, that can put uneven stress upon the neck and possibly twist it over time. A balanced set of strings provides a consistent tension to the neck, across the entire fretboard. That also translates to the player having an “easier” time (how easy is really up to the individual) as all the strings are responding uniformly under your fingers. However, I think “balanced” string gauges have been weaponized somewhat in the marketing ether. For the record, resources like Tension Guides from string manufacturers are a good thing, allowing players to make informed choices, especially when you’re looking to down tune, or use a non-traditional tuning on your bass. But thinking that a set of strings is “balanced” strictly by a tension guide is only one part of the equation. Something may be balanced on paper, but sound completely awful in context.”
So, what does all this mean? Well, ultimately, and thankfully, the simplest solution applies: If it feels good, and it sounds good to you, it is good! I still think it’s best to use your ears and your hands to decide which strings are best suited for you, but it sure helps to understand some of the design and manufacturing attributes that explain why there are so many options out there. And since it can be a pricey thing to experiment with, it can help to know roughly what you like and don’t like, to minimize costly trial and error. But at the end of the day, the only way to really know what’s gonna work for you on a given bass is to try different strings and see for yourself.
Big thanks to Jon Moody for lending his experience and expertise here. Keep an eye out for our next installment of this conversation, on the elusive and surprisingly varied world of flatwound strings, coming soon to a fingerboard near you. Play on friends!
Gear News
New Gear: Esopus Guitars Launches New Acoustic/Electric Bass
Esopus Guitars Launches New Acoustic/Electric Bass…
Esopus Guitars is proud to announce the new “Tailwater” bass guitar, from legendary bass luthier Stuart Spector. This 32” scale bass is handcrafted by Stuart using the only finest woods and components at the Esopus Guitar workshop located near Woodstock NY in the Catskill Mountains.
From its fully carved spruce top (the top is carved on both its exterior and interior surfaces) with a thumb rest that is elegantly carved into the top, to its custom-made Fishman piezo pickup and super hard Carnauba wax finish, every detail of the Tailwater is part of creating the ultimate playing experience.
The Tailwater bass features a fully chambered spruce over alder body (15.5″ lower body bout width, 2.25″ body thickness measuring from the peak of the carved top) that delivers a super comfortable tonal tool for all your low-end needs.
Each Tailwater bass is hand-signed and numbered on the back of the peghead by Stuart Spector. A very limited number of Tailwater basses are handcrafted each year at the Esopus workshop.
“I am proud to present the Tailwater bass, a bass that I have spent the last three years perfecting. The Tailwater is a culmination of all of my 45 years of experience, knowledge, and passion for bass guitar crafting. I am so eager to hear what fellow musicians create with this exciting new instrument.” -Stuart Spector
Direct Pricing : $4995.00 plus options.
For more information about Esopus Guitars and Stuart Spector’s handcrafted instruments, visit www.EsopusGuitars.com.
Bass Videos
Tour Touch Base (Bass) with Ian Allison
Ian Allison Bassist extreme…
Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.
I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/
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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
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Features
Interview With Audic Empire Bassist James Tobias
Checking in with Bergantino Artist James Tobias
James Tobias, Bassist for psychedelic, Reggae-Rock titans Audic Empire shares his history as a musician and how he came to find Bergantino…
Interview by Holly Bergantino
James Tobias, a multi-talented musician and jack-of-all-trades shares his story of coming up as a musician in Texas, his journey with his band Audic Empire, and his approach to life and music. With a busy tour schedule each year, we were fortunate to catch up with him while he was out and about touring the US.
Where were you born and raised?
I was born in Dallas, Texas and lived in the Dallas area most of my life with the exception of 1 year in Colorado. I moved to the Austin area at age 18.
What makes the bass so special to you particularly, and how did you gravitate to it?
I honestly started playing bass because we needed a bass player and I was the one with access to a bass amp and bass. I played rhythm guitar and sang up until I met Ronnie, who I would later start “Audic Empire” with. He also played rhythm guitar and sang and we didn’t know any bass players, so we had to figure something out. I still write most of my songs on guitar, but I’ve grown to love playing the bass.
How did you learn to play, James?
I took guitar lessons growing up and spent a lot of time just learning tabs or playing by ear and kicked around as a frontman in a handful of bands playing at the local coffee shops or rec centers. Once I transitioned to bass, I really just tried to apply what I knew about guitar and stumbled through it till it sounded right. I’m still learning every time I pick it up, honestly.
You are also a songwriter, recording engineer, and a fantastic singer, did you get formal training for this?
Thank you, that means a lot! I had a couple of voice lessons when I was in my early teens, but didn’t really like the instructor. I did however take a few lessons recently through ACC that I enjoyed and think really helped my technique (Shout out to Adam Roberts!) I was not a naturally gifted singer, which is a nice way of saying I was pretty awful, but I just kept at it.
As far as recording and producing, I just watched a lot of YouTube videos and asked people who know more than me when I had a question. Whenever I feel like I’m not progressing, I just pull up tracks from a couple of years ago, cringe, and feel better about where I’m at but I’ve got a long way to go. Fortunately, we’ve got some amazing producers I can pass everything over to once I get the songs as close to finalized as I can.
Describe your playing style(s), tone, strengths and/or areas that can be improved on the bass.
I honestly don’t know what my style would be considered. We’ve got so many styles that we play and fuse together that I just try to do what works song by song. I don’t have too many tricks in the bag and just keep it simple and focus on what’s going to sound good in the overall mix. I think my strength lies in thinking about the song as a whole and what each instrument is doing, so I can compliment everything else that’s going on. What could be improved is absolutely everything, but that’s the great thing about music (and kind of anything really).
Who were your influencers in terms of other musicians earlier on or now that have made a difference and inspired you?
My dad exposed me to a lot of music early. I was playing a toy guitar while watching a VHS of Stevie Ray Vaughan and Double Trouble live at SXSW on repeat at 4 years old saying I wanted to “do that” when I grew up. I was the only kid in daycare that had his own CDs that weren’t kid’s songs. I was listening to Led Zeppelin, Hendrix, and The Doors when I could barely talk. I would make up songs and sing them into my Panasonic slimline tape recorder and take it to my preschool to show my friends. As I got older went through a bunch of music phases. Metal, grunge, rock, punk, hip hop, reggae, ska, etc. Whatever I heard that I connected to I’d dive in and learn as much as I could about it. I was always in bands and I think I kept picking up different styles along the way and kept combining my different elements and I think that’s evident in Audic’s diverse sound.
Tell me about Audic Empire and your new release Take Over! Can you share some of the highlights you and the band are most proud of?
Takeover was an interesting one. I basically built that song on keyboard and drum loops and wrote and tracked all my vocals in one long session in my bedroom studio kind of in a stream-of-consciousness type of approach. I kind of thought nothing would come of it and I’d toss it out, but we slowly went back and tracked over everything with instruments and made it our own sound. I got it as far as I could with production and handed it off to Chad Wrong to work his magic and really bring it to life. Once I got Snow Owl Media involved and we started brainstorming about a music video, it quickly turned into a considerably larger production than anything we’ve done before and it was such a cool experience. I’m really excited about the final product, especially considering I initially thought it was a throwaway track.
Describe the music style of Audic Empire for us.
It’s all over the place… we advertise it as “blues, rock, reggae.” Blues because of our lead guitarist, Travis Brown’s playing style, rock because I think at the heart we’re a rock band, and reggae because we flavor everything with a little (or a lot) of reggae or ska.
How did you find Bergantino Audio Systems?
Well, my Ampeg SVT7 caught fire at a show… We were playing Stubbs in Austin and everyone kept saying they smelled something burning, and I looked back in time to see my head, perched on top of its 8×10 cab, begin billowing smoke. We had a tour coming up, so I started researching and pricing everything to try and find a new amp. I was also fronting a metal band at the time, and my bass player’s dad was a big-time country bass player and said he had this really high-end bass amp just sitting in a closet he’d sell me. I was apprehensive since I really didn’t know much about it and “just a little 4×10” probably wasn’t going to cut it compared to my previous setup. He said I could come over and give it a test drive, but he said he knew I was going to buy it. He was right. I immediately fell in love. I couldn’t believe the power it put out compared to this heavy head and cumbersome cab I had been breaking my back hauling all over the country and up countless staircases.
Tell us about your experience with the forte D amp and the AE 410 Speaker cabinet.
It’s been a game-changer in every sense. It’s lightweight and compact. Amazing tone. And LOUD. It’s just a fantastic amp. Not to mention the customer service being top-notch! You’ll be hard-pressed to find another product that, if you have an issue, you can get in touch with the owner, himself. How cool is that?
Tell us about some of your favorite basses.
I was always broke and usually working part-time delivering pizzas, so I just played what I could get my hands on. I went through a few pawn shop basses, swapped in new pickups, and fought with the action on them constantly. I played them through an Ampeg be115 combo amp. All the electronics in it had fried at some point, so I gutted it out and turned it into a cab that I powered with a rusted-up little head I bought off someone for a hundred bucks. My gear was often DIY’d and held together by electrical tape and usually had a few coats of spray paint to attempt to hide the wear and tear. I never really fell in love with any piece of gear I had till I had a supporter of our band give me an Ibanez Premium Series SDGR. I absolutely love that bass and still travel with it. I’ve since gotten another Ibanez Premium Series, but went with the 5-string BTB. It’s a fantastic-sounding bass, my only complaint is it’s pretty heavy.
Love your new video Take Over! Let us know what you’re currently working on (studio, tour, side projects, etc.)
Thank you!! We’ve got a LOT of stuff we’re working on right now actually. Having 2 writers in the band means we never have a shortage of material. It’s more about getting everything tracked and ready for release and all that goes into that. We just got through filming videos for 2 new unreleased tracks with Snow Owl Media, who did the videos for both Love Hate and Pain and Takeover. Both of these songs have surprise features which I’m really excited about since these will be the first singles since our last album we have other artists on. We’ve also got a lot of shows coming up and I’ve also just launched my solo project as well. The debut single, “Raisin’ Hell” is available now everywhere. You can go here to find all the links distrokid.com/hyperfollow/jamestobias/raisin-hell
What else do you do besides music?
For work, I own a handyman service here in Austin doing a lot of drywall, painting, etc. I have a lot of hobbies and side hustles as well. I make custom guitar straps and other leather work. I do a lot of artwork and have done most of our merch designs and a lot of our cover art. I’m really into (and borderline obsessed) with health, fitness, and sober living. I have a hard time sitting still, but fortunately, there’s always a lot to do when you’re self-employed and running a band!
Follow James Tobias:
jamestobiasmusic.com
Facebook.com/james.tobias1
Instagram.com/ru4badfish2
TikTok.com/@jamestobiasmusic
audicempire.com
Bass CDs
New Album: Avery Sharpe, I Am My Neighbors Keeper
Avery Sharpe and his Double Quartet to release, I Am My Neighbors Keeper
A new recording will be released on JKNM Records by internationally renowned bassist/composer Avery Sharpe, “I Am My Neighbors Keeper” is scheduled for release in June 2024.
Sharpe has composed a new work that highlights our commitment to one another. Avery initiated the project as a response to the political and racial division that has grown over the past seven years in the country. “The U.S political climate has drastically changed in the past 40-plus years, especially during the last seven of those years. In this age of greed, which Sharpe refers to as “IGM,” I Got Mine, basic human compassion has been eroded. Racial, economic and social strides are being turned back.
“We have food insecurity, the unhoused, pandemics, school shootings, domestic violence, and an opioid problem, just to name some. There is a need to remind people that each of us is here on this planet for a very short period of time. It doesn’t matter if one has a religious approach or a secular approach, it all comes down to concern and compassion for each other. Through these compositions and recordings, Avery’s mission as an artist is to remind us that we all are interconnected and that ‘We Are Our Neighbor’s Keeper.’ When we help to uplift one, we uplift everyone,” Sharpe said.
Each movement in the piece describes the values we should strive for to help one another for this multi-media (video slide show during performance) and multi-discipline performance.
Many of Sharpe’s projects and recordings have been about “standing on the shoulders of ancestors, heroes and sheroes.” Among his recordings and projects, include “Running Man” (celebrating the athlete Jesse Owens), “Ain’t I A Woman” (about Sojourner Truth), and his most recent project “400: An African American Musical Portrait” (marking the 400 years from 1619 to 2019).
Avery Sharpe has recorded and performed with many jazz greats from Dizzy Gillespie to Yusef Lateef. He had an illustrious run of 20 plus years with the legendary Jazz pianist McCoy Tyner, of which he recorded more than 25 records with Mr. Tyner and performed countless worldwide concerts.
Visit online at averysharpe.com/