Latest
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!
Spector, a leading authority in bass guitar design, unveils new additions to its product line: Euro CST, Euro LX and Euro LX Bolt On basses.
Euro CST:
The Euro CST introduces all-new tonewoods, electronics, and finish combinations never seen in the Euro Series, drawing inspiration from Spector’s Woodstock, NY-based Custom Shop. Each Euro CST instrument is meticulously crafted using premium materials, featuring a striking, highly figured Poplar Burl top, a resonant European Ash body, and a 3-piece North American Maple neck paired with an Ebony fingerboard adorned with laminated Abalone Crown inlays.
Euro CST basses are equipped with a lightweight aluminum bridge for precise and reliable intonation. Premium active EMG X Series pickups deliver the exceptional clarity, attack, and silent operation that defines the Spector sound. These basses also feature the all-new Spector Legacy preamp. Developed in collaboration with Darkglass Electronics, this preamp captures the classic “Spector growl,” heard on countless iconic recordings, with added versatility.
Euro CST basses are available in 4- and 5-string models in four distinct high gloss finishes: Natural, Natural Black Burst, Natural Red Burst, and Natural Violet Burst.
Euro LX and Euro LX Bolt-On:
The Euro LX offers all the features that have made the Spector name famous around the globe. Inspired by the iconic NS-2, Euro LX basses feature a fully carved and contoured body, high-grade tonewoods, and professional-grade electronics and hardware. For the first time ever, players can now choose between neck-thru and bolt-on construction in the Euro LX range.
Each Euro LX bass, regardless of construction, is crafted using premium materials, including a European Alder body, figured European Maple top, and a 3-piece North American Maple neck combined with a Rosewood fingerboard for strength, stability, and sustain. Euro LX basses are then outfitted with a lightweight, aluminum bridge for spot-on, reliable intonation. Premium active pickups from EMG provide the exceptional clarity, attack, and silent operation that Spector is known for. Like the Euro CST basses, these instruments also feature the all-new Spector Legacy preamp.
The newly revised Euro LX range is available in four distinct, hand-rubbed stains, including Transparent Black, Natural Sunburst, Haunted Moss, and Nightshade. Each of these colors features a durable and comfortable matte finish.
John Stippell, Director, Korg Bass Division, remarks, “I’m thrilled to announce the latest additions to the renowned Euro Range. The CST Series, our new premium offering, features new and unique wood combinations and unprecedented features. The beloved LX Series is now better than ever with the introduction of Bolt-On models, vibrant new color options, and the all-new Spector Legacy Preamp, delivering the classic Spector tone with unmatched precision.”
For more information, visit spectorbass.com.
Meet Garry Beers, Luthier and owner of GGB Basses…
Bass Musician Magazine: How did you get your start in music?
Garry Beers: I played acoustic guitar as a kid with my mates at school. We decided that one of us should play bass, so we had a contest where the one who knew the least guitar chords would buy a bass – so I lost the contest, bought my first bass, and became the only bass player in the neighborhood. Soon after, I met Andrew Farriss, who had heard that I had a bass, and a few days later, I was jamming with Andrew and Jon Farriss.
Are you still an active player?
Yes, I am still actively writing music and playing bass sessions. I also have an LA-based original band called Ashenmoon.
How did you get started as a Luthier? When did you build your first bass?
I did woodwork in High School and always enjoyed making all sorts of things out of wood.
After finishing high school, I took a course in electronics for a year or so and learned enough to understand basic circuits in guitars, amplifiers, and effects. The best way to learn is to deconstruct and study, so my dad’s garage was littered with old junked radios and any instrument parts I could find.
My first guitars were more like Frankenstein-type creations made out of parts I found here and there. I didn’t really try to build a bass from scratch until I perfected my Quad pickup design and got my patent.
How do you select the woods you choose to build with?
I only use woods that were used at Fender in the 50s, which are my favorite basses and guitars of all time. All my GGB basses are modeled in some way from my INXS bass- a 1958 Fender Precision bass I bought in 1985 in Chicago. I call her “Old Faithful,” and she has an Alder wood body with a maple neck. All of my GGB basses are select Alder wood bodies that I have had extra dried, so they match the resonance of “Old Faithful,” as she has had 66 years to lose all her moisture and become more resonant and alive-sounding. I use plain old Maple necks that I carefully select, and again, I dry the necks to make them sing a little more.
Tell us about your pickups.
I started working on my Quad coil design back in Australia in the ‘90s and then put it to bed, so to speak, until I found an old pickup winding machine at a swap meet here in LA. I taught myself enough about pickup winding to build my first prototype design and worked towards my patented Quad coil design by trial and error. Nordstrand Audio builds the pickups for me here in SOCAL.
What is the reaction of players who pick up your basses?
I build the basses to feel like an old friend. They look and feel vintage, and when you plug them in, you discover the array of vintage sounds available to you from just one pickup. Most of the players I have contact with are established professional players, and they all love the basses. Freddie Washington and Nick Seymour from Crowded House are a couple of players with GGB Basses in their hands.
What are a few things that you are proud of in your instruments and would consider unique?
I would say I am most proud of the patented Quad pickup design. I own the patent from 4 through to 10-string. So far, I have only built 4 and 5-string pickups, but the design is a winner. Split Humbucker / Reverse Split Humbucker / Full Humbucker / Single coil Neck / Single coil bridge. All these sounds come from one passive pickup. I am very proud that my perseverance and desire to have this pickup have made it a reality. Being able to have these sounds in one bass enables the player to have one bass in the studio and on the stage. The only place you can have the GGB Quad pickup is in one of my GGB Basses.
Which one of the basses that you build is your favorite one?
I offer three body shapes and about ten different color options – all based on the ‘50s and early ‘60s custom guitar and car paint styles. I have always been a lover of P basses, but my favorite bass I build is now my XS-1 model- which is a custom Jazz bass body style. It is pretty sexy and is a light, well-balanced, and great-feeling body shape. The other body styles are the XS-2, which is a custom Jazzmaster body and has been the most popular so far- and the XS-3, which is the standard P bass body style. I also offer an XS-58, which is a replica of my “Old Faithful” ‘58 P bass. They are currently available to order now and should be available soon.
Can you give us a word of advice to young Luthiers who are just starting out?
I don’t really consider myself a Luthier in the traditional sense. I just love to build things and tinker. I was always looking to improve things, whether it was a guitar, an amp, a pedal board, or a car. So my advice is to always be curious and learn the basics of what you want to build, and the rest should follow once you decide what you want to say as a designer/builder. People are lucky these days that you can learn pretty much anything from talented people on the internet, but nothing replaces working with and learning from real people in real situations. Seek out like-minded builders and start a discussion.
What advice would you give a young musician trying to find his perfect bass?
Have a good hard think about what you want to say as a player. What is your style, both musically and as a player? There are so many instruments available. Do the research, play the instruments that fit your criteria, and make a decision. But make sure you try a GGB Bass! With all the sound choices my basses offer, with a simple turn of a knob, you may find it easier to find “your” sound.
What is the biggest success for you and for your company?
Well, the company is brand new, and at this point, it is just me, so getting this far in the manufacturing process and now having these amazing basses in my hands is a great achievement, but now comes all the business stuff!!
What are your future plans?
It’s a work in progress. Right now, it’s all about getting the word out and getting the basses into the hands of interested players. I believe in the basses – and the Quad pickup, so hopefully, GGB Basses can become a go-to bass for demanding studio and live players who want sound choices in a gorgeous vintage-style instrument.
Visit online at www.ggbbasses.com
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction:
The Joyo Monomyth bass preamp pedal is designed to offer bassists a comprehensive range of tonal options, combining modern features with practical functionality. With independent channels for EQ and overdrive, as well as useful additions like a cab sim and DI output, the Monomyth aims to be a versatile tool for both live performances and studio sessions. This review will delve into the pedal’s specifications, controls, and overall performance to determine if it lives up to its promise of delivering quality and flexibility at an affordable price.
Specifications:
– Dimensions: 130 * 110 * 50 mm
– Weight: 442g
– Working Voltage: DC 9V
Controls:
The Joyo Monomyth is equipped with a comprehensive set of controls designed to provide maximum tonal flexibility:
– Voice: Adjusts the character of the overdrive, from distortion to fuzz.
– Blend: Balances the dry and effected signals, crucial for maintaining low-end presence.
– Level: Sets the overall output volume.
– Drive: Controls the amount of gain in the overdrive channel.
– Treble Boost: Enhances high and mid frequencies for clarity in complex passages.
– Gain Boost: Adds extra gain, particularly effective at low gain settings to enhance the low e.
– EQ Function Controls: Features a 6-band graphic EQ plus a master control for precise nal shaping.
– Ground Lift Switch: Helps eliminate ground loop noise.
– Cab Sim Switch: Activates a simulated 8×10″ cab sound.
– LED Light Control: Customizes the pedal’s ambient lighting.
Performance:
The Joyo Monomyth shines in its dual-channel design, offering both a transparent EQ channel and a versatile overdrive channel. The 6-band EQ allows for detailed tonal adjustments, preserving the natural character of your bass while providing ample flexibility. The voice control mimics the functionality of the Darkglass Alpha Omega, shifting from distortion to fuzz, with a sweet spot around the middle for balanced tones.
The blend control is essential for retaining the low end when using distortion, ensuring your bass remains powerful and clear. The treble and gain boosts, available on the overdrive channel, further enhance the pedal’s versatility, making it suitable for everything from subtle drive to full-blown fuzz.
Outputs are plentiful, with a DI and XLR out for direct recording or ampless setups, and a headphone out for convenient practice sessions. The cab sim switch adds a realistic 8×10″ cab sound, enhancing the Monomyth’s utility in live and studio environments.
Pros:
– Versatile Control Set: Offers a wide range of tones, from clean to fuzz.
– Blend Control: Maintains low-end presence.
– Robust Outputs: DI, XLR, and headphone outs make it adaptable for various setups.
– Affordable: Provides high-end functionality at a budget-friendly price.
– Sturdy Construction: Durable build quality ensures reliability.
Cons:
– Plastic Knobs: May feel less premium compared to metal controls.
– Boosts Limited to Overdrive Channel: Treble and gain boosts do not affect the EQ channel.
– Cab Sim only on the XLR out: how cool would it be to also have it on the headphone out?
Conclusion:
In conclusion, the Joyo Monomyth stands out as a versatile and powerful bass preamp pedal, offering a range of features that cater to both traditional and modern bassists. Its dual-channel design, comprehensive control set, and robust output options make it a valuable tool for achieving a wide spectrum of tones, from clean and warm to heavily distorted. For bassists seeking flexibility, reliability, and excellent value, the Joyo Monomyth is a top contender.
For more information, visit online at joyoaudio.com/product/267.html
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
FEATURED @mikelullcustomguitars @maruszczyk_instruments @foderaguitars @marleaux_bassguitars @meridian_guitars @dmarkguitars @benevolent_basses @sandbergguitars @bassworkshopau @glguitars
Future Impact V4 Guitar & Bass Synth Now Available in the U.S….
The Future Impact V4 is an incredibly versatile pedal with an exceptionally wide range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can also drive external synthesizer gear via the optional CV/Gate. As such, it can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Check out this short video with new sounds:
The Future Impact V4 has a completely new hardware platform with numerous enhancements, some of which are:
– 32-bit ultra-low-noise analog-to-digital and digital-to-analog converters
– New app-based software architecture
– Vastly advanced pitch tracking based on 30+ years of experience
– Hard Sync between oscillators to open new sonic worlds
– On-pedal edits that can be saved into program memories
– Total compatibility with all previous Deep Impact and Future Impact patches
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.
For more information, visit online at pandamidi.com/bass-guitar-synth
Exclusive U.S. distribution by Tech 21 USA, Inc