The Six String: Opinions?

[No, I Wont Just Play Root]

Noobie here: hope to enjoy the board for many years to come: i'll get to my intro after this post!

 

Been playing for around 15 years, bounced between 4 and 5 strings, and I'm now considering the sixth string option.

 

Any opinions on the value/benefits/drawbacks of the six string? I play mainly funk/rock lines, with a good deal of slap n pull, and was hoping the six string would increase the versatility of the lines i play.

 

Any comments? What're the "real" advantages and disadvantages of the extra high string?

 

[jeremy c]

Welcome to the Lowdown!

 

And I hope you know that you've opened up with a post which discusses a subject that has been discussed many times before and always brings "controversy". Try not to let the inevitable flames you will get for your post discourage you from further posts to the forum.

 

Of course you can play anything on a 6 that you could have played on a 4 or 5. I know many people who play 6's exclusively these days. No one bothers them about it, they're all great players who play what is appropriate wherever they are on whatever instrument they have.

 

Some 6's have tighter string spacing. If you're interested in slapping, make sure you get one that has wide enough spacing to do that on.

 

The advantages of a 6, which of course you probably know already are the ability to play across the neck (fewer position shifts) and the increased range for soloing or chords.

[Adamixoye]

I agree with Jeremy 100%. Also, for slapping, you have increased range string-wise. For instance, you can do octave slaps with the root on the D-string, instead of just the A-string (obviously).

 

I am a 6er, and I don't slap much, but I love the increased range of my 6. One day I may get a 4 or a 5 as part of an array of basses (I started out on a 5), but I will never be without a 6.

[No, I Wont Just Play Root]

Thanks Guys: sorry if i've opened up a controversial topic!

 

Adam: that was part of my thinking behind the 6: the ability to slap octaves from the D would certainly enhance the tonality of my playing.

 

I suppose it's a question of technique: i'm guessing that the 6 will take a good while locked away in a room practising away until my technique gets used to the extra string and the tighter spacing, but that's never a bad thing

[jeremy c]

If you really want to play the 6 string, the best thing to do is put your other basses away and just play the 6. Sink or swim, so to speak.

 

After all, John Patitucci got his first six string (a Ken Smith bass) the day before he left for a tour with the Chick Corea Elektric Band.....and that's the only bass he took.

[Grant - Toupé]

I love my sixes. For me it's the freedom to strum a stupidly high chord pattern and then get down for some dirty slap work.

 

It's great for tapping and, as the guys said, playing across the board.

 

The only thing I can say against a six is that I find it hard to play in the normal register of the bass (EADG) - I'm always looking for the extras I can play when writing songs. But I like to fill up my basslines, if you're disiplined (like I'm not) you should be fine holding down the lines you're used to.

 

But just like Adam - I'll never be without a six again.

 

http://www.dopplermusic.com/toupe/small/Toupe_0153.JPG

 

Mmmmmm....buy one now!

[No, I Wont Just Play Root]

i think i may take the plunge....

 

So Grant: you don't feel it hinders your slap technique?

 

if it doesn't work out, i can blame you guys...

 

[Grant - Toupé]

Originally posted by No, I Wont Just Play Root Notes:

i think i may take the plunge....

 

So Grant: you don't feel it hinders your slap technique?

 

if it doesn't work out, i can blame you guys...

 

Not at all, I've got a Pedulla MVP6 and it suits me down to the ground. I play with my thumb in the verticle position so it more to do with where my pinky is anchored more than where my thumb is landing, besides if you prctice enough on it, you will learn the bass and all it's sweets spots.

 

I'm a pick up and play kinda guy so I just get on with the job - if you start to think about it too much it will distract you.

 

Good luck man.

 

How much are you going to spend?

[No, I Wont Just Play Root]

not a great amount, Grant: around £400, and I have my eye on a Spector Q6 Pro.....

 

Any thoughts on my choice?

[Adamixoye]

Originally posted by No, I Wont Just Play Root Notes:

i think i may take the plunge....

 

So Grant: you don't feel it hinders your slap technique?

 

if it doesn't work out, i can blame you guys...

 

To the extent that I do slap, I haven't found the narrow spacing of my Hohner B Bass VI to be too restrictive (it's about as narrow as the spacing on the Samick 5-string that I started out on, which may not help; let's just say that yes, it is narrower than your typical P or J bass).

 

And as Jeremy said, sink or swim with it. If you buy it, make it your main instrument or you will never be comfortable with the spacing.

[Grant - Toupé]

Originally posted by No, I Wont Just Play Root Notes:

not a great amount, Grant: around £400, and I have my eye on a Spector Q6 Pro.....

 

Any thoughts on my choice?

You won;t get anything of great quality for £400 and that might put you off the whole thing. On thing I saw the other day for £500ish was a Dean 6 - can't remember the type. I thought it had nice spacing and reasonably good pick ups (might be worth a change in the future) It was heavy as hell though. After playing Pedulla for so long - I like 'em light, however you're looking at £2500 ish for one of them!

 

Just saw you're from Glasgow Root Notes! Have you heard of a band called [cayto] from your way? Play the 13th note a lot.

[Fred TBP]

Originally posted by No, I Wont Just Play Root Notes:

Any comments? What're the "real" advantages and disadvantages of the extra high string?

 

You're forgiven, just remember to pick up the worms and put them back in the can before leaving the room.

 

The big advantage is that you can play chords, false harmonics, fast arpeggios, slap below the 12th fret, and basically copy your favorite guitar riffs. (Guitar players really hate it when you can do their stuff on bass... ) The next big advantage is you'll gain the awe and respect of other bass players when you go out to play.

 

The big disadvantage is in having to learn it, which is temporary, and then being forced to play simple stuff when you know you can burn, which is our lot in life. If you can transcend both, you'll be OK.

[Dave Martin]

And for another opinion, I've played a Modulus 6 for about 10 years, and find myself going back to 4 string Fenders as often as the music allows me to do so. (Really, playing a P bass with flatwounds whenever possible).

 

For me, there are sometimes when a 4 simply feels right, and a 6 doesn't - but that's really song and style specific. And there are some bass parts that I've come up with - especially those where I'm drop tuning the low E, that I simply can't play well on a 6. The notes are there, but not in the right places to make the part work.

 

I'll agree with those who have suggested that you play only the 6 for a few months when you first buy the instrument, and I'll agree that if you're slapping, the string spacing can be an isue. But not an insurmountable one, with a bit o practice.

 

The biggest probelm (for me) was getting used to where the notes are on the 6 - Your hands learn where notes are, and having an extra string on top will feel funny for a while to your left hand, and an extra string on bottom feels funny to your right hand. I'm a bit embarrassed by the number of times (especially the first week I played it) that I fretted one string and plucked a different one...

[TShakazBlackRoots]

Personally, I believe the choice of how many strings depends on the kind of music one plays.

Most modern music requires 5 to 6 strings (especially that created on synthesizers).

However, so much great music from time immemorial has been created on 4 string basses.

I guess it's a personal choice. Most of the bassists I 'idiolise' are playing 4 strings to this day.

'The proof of the pudding....'

[No, I Wont Just Play Root]

thanks for all the advice guys: still in two minds whether to go for the 6, or stick with a new 4 (perhaps comprimise with a 5, which i played for about 4 years but havn't touched for 2!)

 

I tend to slap quite alot in certain songs, and I'm always fond of using an accidental pull and slide occasionally, just to keep my drummer awake , so in this sense, i'm hesitant to go with a 6.... may just go for a new 4 (haven't bought a bass in about 3 years: the time has come again!)

 

Grant: haven't heard of that band, no: played the 13th Note a few weeks ago tho: crazy venue: if you're over 6 feet tall, you better not be even TRYING to "mosh" or "bounce" in there! Do you recommend them?

[Nicklab]

I think the six is a great tool. I've played bass for 13 years, and 12 of those years I've played the 6 string. If it helps you play the music that you want to play, go for it. It's definitely great for playing in an extended range in a single position, and it's great for exploring chordal possibilities.

 

As for slapping, if you can slap on a 5, you can slap on a 6. For me, the biggest challenge in slapping a 5 or 6 has always been placing my thumb squarely on the E string and not accidentally striking the low B. If you're good at that, then slapping on a 6 string shouldn't be that difficult. Of course, that does depend on how the string spacing is on your new 6. The added benefit of slap and pop playing that I took advantage of was popping double-stops. How?

 

One song an old band was doing had a breakdown section in B minor. We would vamp between D minor and B minor. Okay, so what did I do? I slapped the part on my 6 string. I would thump on D on the A string, and pop C on the G string (the 7th)and F on the C string (the 3rd an octave higher) at the same time. I did the same thing on the B chord, thumping on B on the A string, and popping A on the G string (the 7th)and D on the C string (the 3rd an octave higher) at the same time. This technique really isn't new. I've heard Marcus Miller do double pops on 4 string on the song Panther, and Alain Caron of UZEB uses this technique, too.

 

I grew to enjoy using the C string for popping and general higher playing, just since it tends to be really responsive. But it's equally easy to overpower the C string. It just takes a bit of time to get accustomed to how the C feels. If you've played 4's or 5's with relatively light strings (.40 gauge or less for your G strings ), you'll be more likely to get the feel for the C string quicker.

 

One of the few drawbacks? It won't be as easy for you to pop the G string. One thing I've heard some people mention that they found in the transition from 4 or 5 to 6 string is this: they found they "dug in" too much under the G string on 4 or 5. That took making an adjustment in how they approached popping the G. Before, there was no impedement to just sliding their fingers under the G string, but now they have to navigate in between the G and C strings to pop. The unrealized benefit here is that this could actually help you improve your popping technique.

[patrick_dont_fret_dup1]

Well, as most of you know most of my favorite bassists play sixes, or at least 5's. They use the B very tastefully for the most part, but will go crazy playing chords and stuff on the higher strings. One thing I've found is that I can get the same sound as a slap or pop playing with a medium nylon pick. I can revv the strings up real fast this way, then break into a nice pop session, only with a pick. In some/most cases, I can play faster with a pick. Six strings are, for the most part, a little too hefty in the neck portion for me to play, but if I can find one with a small neck, I'm all over it. It'll be my next bass purchase (probably in a few years, though), probably right behind a new amp.

[PhilMan99]

It took me a year to transition from a 4 to a 6, although I only play part-time:

* Different neck width

* Different string spacing

* Kept forgetting which string I was on (reading chord charts, so I can't look at the neck much)

 

With that behind me, a couple of thoughts:

* I purchased in the same price-range as you. Got Ibanez SR496BM. It's been replaced by the SR506 - the 506 has "Barts" - I got garbage electronics & pickups.

* The Spector Q6 seems to get pretty high "marks" from what comments I've seen, but of course, it's still a low-end instrument. With EMG pickups (and electronics I believe), it would be a big improvement over my SR496BM.

* With my Ibanez skinny "flat-plank" neck, I have no trouble covering the whole neck if my thumb is properly placed in the back of the neck. A wider or "log style" neck, though, seems like it would be tiring on the hands. While I never slap, I'd think the Ibanez would be a nightmare in that regard with such narrow spacing.

[g.]

Now that my six is a fretless with an epoxy-coated 'board I'm all over it again : } - though one sacrifices some chord shapes in some areas when going fretless, I find the trade-off more than fair.

 

The Ibanez SR506 three-piece neck with two truss rods allows a smaller hand to really feel comfortable without being anything less than rock solid. This bass hasn't needed adjustment much at all - even with all the different tuning and string experiments it was used for up to now. It's got the narrower 17 mm string spacing and a comfortably shallow elliptical front-to-back profile, and probably a 16 inch radius on the board.

 

I can play a fatty (Yamaha Six for instance) decently but that really doesn't have the sexy "I'm all over it" feel this does. I'd say to anyone considering a Six, DON'T BE AFRAID! Just jump in, after researching which neck and instrument features would likely suit what your vision would be for playing a Six. Consider weight, balance sitting and standing, and electronics as well...

 

Mine looks like it's got two soapbars, but they are actually split coil similar to a P bass internally, with each half of each pickup covering three strings. Great for noiseless operation, and very flexible in tandem with one of Ibanez's GOOD preamps that is not only quiet and dynamic but has a sweepable mid. But I do want to see how the whole affair sounds passive, because once I get the V-Bass-driving guts to install, I will have so many tonal options I can afford to forgo a preamp if the passive sound is compelling.

 

This is a great eBay bass on its way to becoming an ultimate V-Bass driver!

[SteveC]

It sounds like you are happy with 4 strings. Maybe you should just get a different/better 4 and leave it at that.

 

I have a 6 fretless, and I love it. I use it for jazz-type stuff mostly. Although it works great for just about anything, except slapping and maybe some funk and some of the Four Play and Spyro Gyra type jazz. I thought about just getting a fretted 6 and just have the 2 and be done. But......

 

I have a heavily modified Jazz that I like. I use it for all kinds of things. Lately, I have been exploring more solo bass, chording, looping type stuff. I use the EADG Jazz - with the nice slim, fast neck - for playing the "jazz guitar" style standards. I re-strung my 5 to EADGC for looping and to give me an extended range on a fretted bass fo rsolo playing. I plan to use the fretless 6 for soloing over pre-set loops and maybe some other stuff as well.

 

I looked at getting a fretted 6, but for any slapping I do, it seems like a standard EADG 4 string has been all I ever needed. For the solo/chording stuff, so far it seems that a B string isn't as necessary, so that's why I re-strung the 5 to EADGC.

 

Did that help?

[Ed Friedland]

I just made the commitment to get into the 6. Typical of me to jump on the band wagon 15 years later than everyone else, but...better late than never. I had tried the 6 several times before, and began to experience tendinitis (anyone read that article?). For some reason, I decided that this time I would be able to play it without problems, and amazingly enough....I can! I guess it's mind over matter for me.

 

Anyway, I love the options it gives me, I'm real into the simultaneous chords and bass line thing, and when I use my Rotary simulator on my effect unit, I can get a killer B3 sound. I use it for jazz gigs, but recently did some blues/r&b gigs and the band went nuts. It's big fun. Of course, I have to remember to keep it balanced and play "normal" once in a while.

 

Slapping on the 6 is a big pain in the butt, but I'm slowly getting it. My Carvin BB76 has pretty narrow spacing, which is great for chords, and it's not bad at all for slapping, the problem is there are too many damn strings! I am having trouble adjusting to the C string. I'm very patterned into having my 2nd finger pop the G, but now I have to use my 1st finger. Well, I'll get used to it eventually, just have to practice. I got my nerve up and started to slap on a gig last week. Perhaps it was the "Blues Juice", but I actually relaxed and got the damn thing to do what I wanted. Unfortunately, that event has not yet repeated itself....

 

Anyway, if you're thinking about the 6, I say go for it, it's several instruments in one, and as long as you can remember to play it "normal" once in a while, you won't piss everyone off too much.

[TShakazBlackRoots]

I've been playing bass for only a year although for over a decade, I've been writing my songs starting with the basslines.

I just acquired a BB604 Yamaha (4 string), after agonising for weeks whether to literally jump into the 'deep end' and go for a 5 or 6 string.

 

Some of us can only afford one bass at a time. The decision then becomes more difficult.

I'd really love to move on to a 5 soon.

I'm the kind of person who never wants to own more than one of the same thing.

 

In otherwards, I have to be sure which bass to get coz I'll own one at a time. So it better serve it's purpose.

[No, I Wont Just Play Root]

Well, after all the deliberating, went down to the store and spent an hour with the thing, making my mind up.

 

The string spacing is not too tight, and I got used to the C pretty quickly (probably as i've switched between 4 and 5 for the past few years).

 

My pop technique (never really analysed it before now!) seems to rely very little on getting "in behind" the string (i have quite narrow fingers anyways!!!!) , and I was comfortably able to pop the G without the C getting in the way.

 

The fact that the neck is much wider than i'm used to was, in my opinion, a joy: i can really "feel" the instrument, if you know what I mean: and having the extra 2 strings, for now at least, will only be used to provide higher pops and octaves, some more convenient double stops, and allow me to play further up the neck when down low.

 

I know that £400 perhaps isn't a great deal to spend on a bass: I'd love to be able to justify blowing a few grand on a tidy piece of kit, but some of us are on a budget!

 

Downside: finally got the card ready to go make the purchase...... and they don't have the finish I want (only the horrible holoflash finish), and none of thier UK stores have any different. With them being the sole UK Spector distributor (yes, I AM sold on the Spector: seems like a great bit of gear for the cash!), i'm now stuck with a THREE_MONTH_WAIT!!!!!!!! Damn....

 

So, Just e-mailed the friendly Mr Spector guys, to see if they can hurry that situation along: my first test of their customer service!

 

Thanks for all the advice guys!

[hags2k]

I'd just like to say that I think this is a WONDERFUL thread. Very eye opening and informative, with some great perspectives and opinions. To be quite honest, until reading this thread, I'd really not even considered a six as a real possiblity...

 

For now, though, I'll concentrate on learning the four (maybe 5, if I can fix the damn thing...) strings I already have to work with.

 

And, again, good thread!

[Nicklab]

The pricing on the Czech Republic made Spectors is pretty good. If this is your first step into 6 string bass, it's a decent instrument to do it with. Who ever said that you couldn't get a good instrument on a budget? I'm just bummed to hear that you have to wait so long to get the color you want.

[doc taz]

I'm definitely going in this direction. (In a few years, anyway :]) I'd wait long enough, so I could buy two sixes. Yeah, a fretless six would really rock. That, plus an Ebow, and I could definitely mimic an upright, though it wouldn't be a permanent replacement for one, just an alternative.

 

Well, either that, or I get one of those OLP MM 5 strings and defret it, anyway. Time (and $$) will tell. ;]

[Nicklab]

I've heard that E-bow's aren't great with bass strings. I know Michael Manring experimented with using them on some of his recordings, but I recall that he had to kind of "start the string" by plucking it gently, since the E-bow wasn't quite powerful enough to move bass strings.

[Wally Malone]

I have a hard time slapping on my six and most of the time will take my four on a funk and r&b gig. The one thing that can be done easily on a six is to slap and pop the double octave. If tuned in fourths the double octave is one fret down on the C string from the low B string.

 

Wally

[Ed Friedland]

I'm determined not to suck at slapping the 6, I see lots of cool possibilities. The other night I was flailing away slapping the root and popping 3 note chords. It just happened, I never tried it before. Like I said, I can't seem to replicate this miracle right now, but.... there's always hope.

 

It's also wonderful for Bossa Nova style comping, doing the alternating R-5 bass line with 3 note voicings on top sounds great. I'm getting fairly comfortable going through changes this way. The voicing potential is limited in these positions, but they sure do sound nice. My word of warning: this is exactly what I was trying years ago, and I developed tendinitis. It puts the wrist into some extreme positions. I am not suggesting anyone try it. The fact that I can do it now without pain is... a miracle. - Another one.

[passgroove]

Does anyone now any good exercise books for beginners on 6 string basses?