Taming the 5 String
by Glenn Letsch
reprinted by permission
Electronic Musician Magazine

Are you thinking of retiring your trusty 4-string bass to the closet and moving up to the mighty 5 with the big bad B? Are you already playing a 5-string bass but are beginning to wonder if the 5-stringer is right for you? Are the members of your band pressuring you to join the Club of Five? If you're pondering these questions, you're not alone. Welcome to the wonderful world of bass-player angst. Deciding whether to move up to five strings can be a frustrating process. Your choice will ultimately make you adjust your performance techniques and perhaps even change the way you write your bass parts. However, the dilemma does not have to induce ulcers. Making music is an intimate process where you must feel free to flow and hit the "zone." So, if you are not 100 percent satisfied with the places a 4-string bass takes you creatively, it's time to explore some other options. The 5-string bass is not a monster, but it may take a little work before you're comfortable playing it. Let's identify some of the characteristics of the 5-string bass, talk about optimum performance techniques, and (hopefully) lead you toward a rational decision. In the end, just make sure that your choice of bass enhances your ability to be soulful, creative, and spontaneous. Flabby B Syndrome. The traditional 4-string bass has a 34-inch neck, measured from the nut to the bridge. When the strings are tuned to concert pitch, the 34-inch neck maintains ideal string tension and maximizes the fundamental frequency of each string. This is why, for example, the low E string sounds wonderful, punchy, and tight. However, when you string a low B on a 34-inch neck, the sound is often muddy and "loose" because the fundamental frequency needs more string tension to clearly define itself. This is a classic case of "flabby B syndrome." Only a bass with a 35-inch neck provides the tension the B string requires to ensure a tight and muscular-sounding low B. Some manufacturers build 34-inch scale basses with harder neck and body woods and more metal mass to enhance the instrument's resonant frequency. This method can help diminish the flabby B, but it will never solve the problem entirely. The laws of physics simply favor the 35-inch neck. So, if a tight-sounding B string is an absolute necessity, you must play a 35-inch scale bass. Lighten up. Sometimes the laws of physics can work against you. In the case of the 35-inch scale, 5-string bass, the increased string tension that makes the B string happy can cause the other four strings to feel too tight. And, if the E, A, D, and G strings are too stiff, they probably will not respond easily to slapping and other performance nuances. If the tension is messing with your playing style, try using lighter-gauge strings. If you've changed gauges and the feel is still unacceptable, the 35-inch bass may not be for you. Watch your grip. Some 35-inch scale players have reported cases of carpal tunnel syndrome, tendinitis, and bone spurs. Unfortunately, this is because the larger neck requires more hand and wrist movement. If playing the larger scale neck is uncomfortable, get the neck shaved or design a thinner, narrower neck. (Some manufacturers offer choices of necks or have custom shops that can tailor an instrument to your needs.) If this solves your problem, great. If not, don't play a 35-inch scale bass. Slap happy. All fingers are not created equal in size and thickness, but most basses are made as if they are. This can be a problem if slapping is a major part of your playing style and the strings on your 5-string are too close together. Fortunately, you don't have to change your style, you just have to adjust the string spacing on your bridge. Most instrument repair shops will do this for you (for a fee). If, for some reason, the bridge can't be adjusted, replace it with a model that offers lateral adjustment. Before you buy a new bridge, however, determine whether the neck is wide enough to accommodate your desired string width. If the neck is too narrow, you'll need a new neck or a new bass. Although customizing a bass can be costly, it is exactly what the pros do to ensure that their instruments conform to their playing styles. Manufacturers design basses for the largest demographic, so it's a given that most beginners are forced to adjust to the bass. Advanced players, however, adjust basses to their needs. If your 5-string bass is forcing you to make stylistic compromises, you may want to individualize your instrument. If 4 were 5. If you dislike playing a 5-string bass but find it necessary to hit the low notes the added B-string offers, there are some tricks a 4-stringer can do to emulate that rock-bottom sound. For example, you can try tuning your bass down to D, G, C, and F. This is actually a great technique. When I joined Robin Trower's band, the previous bassist said I was going to have a tough time playing the songs if I didn't have a 5-string bass. Trower tunes down a whole step because he uses heavy-gauge strings that sound very dense but are tough to bend unless the string tension is reduced. I simply tuned down so that Robin and I were on the same page. A small truss-rod adjustment was all that was needed, and the "detuning" worked like a champ. If you plan to try this method, I'd also recommend having another bass available that's tuned to concert pitch. That way, you'll get the best of both worlds. If you're really bold, you can tune down to C#, F#, B, and E when you need to go deep. This tuning drops your bass down 1 1/2 steps, and that's about the limit. I know some great studio cats who do this on a regular basis. (I've done it myself!) They never play 5-string bass. Admittedly, this tuning might get a little touchy on stage because the strings are so loose. Going a whole night with this tuning could get a little sloppy. Typically, this technique works better in the studio where you're doing one song at a time and it's easier to control your performance technique. A word of advice: Don't hit the strings too hard! You can also restring your 4-string to B, E, A, and D. Obviously, this tuning works best on a 35-inch neck because of the string tension problem we discussed earlier. If you use this tuning, you will miss having the G string and you'll probably find yourself jumping up the neck to hit the notes you usually play. In addition, you will not be able to hang out on the B string as much as you would if the string were tuned to E. The main problem is that the low B can sound so low that constant riffing on that string will turn your tone to mud. Annoyances such as that aside, this tuning will work, but I'd recommend having another bass on the gig that's in standard tuning. A mechanical way to drop down to the low lows is to install a Hipshot Bass Extender on your axe. Attach this detuning device to your E string and it will lower the pitch up to 1 1/2 steps at the flick of a lever. Hit the switch again and the tuning returns to E. Of course, when you detune your E string, you'll have to do some fast transposing to make your parts work. But overall, the Bass Extender is a convenient way to change tunings. B kind. You can always tell a new 5-string owner because he or she is playing way too much on the B. Be aware that constant riffing on the B string can become oppressive to listeners. The notes are so low that they can sound murky and sonically distant. I recommend playing in the traditional realm of a 4-string bass because that sonic territory usually meshes best with the rest of the band and the music. Then, when you do go to the low B, it will be a special, unexpected, and exhilarating moment.