Rickresource Rickenbacker Forum

I've become very fond of the D'Addario Chromes Custom Light Gauge set (ECB84) .40/.60/.80/.100 for my 4003. In my quest to find a set that is perfectly balanced (or close to it), I am thinking of purchasing multiple sets and putting together the "best" gauges to suit my needs? I understand this might be an expensive undertaking since D'Addario doesn't offer much in terms of purchasing single flatwound strings (I may have to purchase three different sets), but I was thinking a set of .45/.60/.80/.105 might be better balanced. Unfortunately, I'd have to pick up the ECB81s, 82s and 84s to accomplish this.

The other factor, of course, is tension. The tension of the ECB84s are (G) 37.6/ (D) 45.2/ (A) 43.7/ (E) 38.4.
If I were to put together the custom gauge I referred to above, the per string tension would be
(G) 45.7/ (D) 45.2/ (A) 43.7/ (E) 41.5.

Can you think of any detriment to upping the overall tension slightly (approx. 3 lbs), but having a better balanced set in terms of gauge?

Any advice/suggestions would be much appreciated.

I have the same set of Chromes ECB84 on my 4004Cii FG. They are finally loosing the new bright sound. I'm really diggin' them now!
I don't think there would be any detriment to having an extra 3lbs. of tension from the .105 that the truss rods could not take care of, if need be.

NFB-418 wrote:I was thinking a set of .45/.60/.80/.105 might be better balanced. Unfortunately, I'd have to pick up the ECB81s, 82s and 84s to accomplish this.

I did this once--it is perfectly balanced, a heck of a lot better than the stock sets. Then again it's crazy expensive. Fender 9050CL will be the same gauges and should be out in January; for now the 9050L is close. Fender 9050s (new formula) sound like broken-in Chromes basically.

Can you think of any detriment to upping the overall tension slightly (approx. 3 lbs), but having a better balanced set in terms of gauge?

Unless your neck is already failing there shouldn't be any issue and the strings will get a much more uniform timbre which is great.

cassius987 wrote: Fender 9050CL will be the same gauges and should be out in January...

Thanks, Cassius. How did you hear about this new set? Is there any spec info out there right now?

Cassius, I was about to get a set of the LaBella DTF's that you've spoke highly of for my C64 but then thought I'd have it strung by now with the NOS Rick strings we've been waiting for so I held off. Now that we're still waiting for the NOS ones I assume you're liking these Fenders a lot better than the DTFs - is it because of tone or better balance (or both)? I'm still very happy with my TI's but want to experiment with others. How does the tone of the DTFs compare to the Fenders?

Thanks

NFB-418 wrote:I've become very fond of the D'Addario Chromes Custom Light Gauge set (ECB84) .40/.60/.80/.100 for my 4003. In my quest to find a set that is perfectly balanced (or close to it), I am thinking of purchasing multiple sets and putting together the "best" gauges to suit my needs? I understand this might be an expensive undertaking since D'Addario doesn't offer much in terms of purchasing single flatwound strings (I may have to purchase three different sets), but I was thinking a set of .45/.60/.80/.105 might be better balanced. Unfortunately, I'd have to pick up the ECB81s, 82s and 84s to accomplish this.

The other factor, of course, is tension. The tension of the ECB84s are (G) 37.6/ (D) 45.2/ (A) 43.7/ (E) 38.4.
If I were to put together the custom gauge I referred to above, the per string tension would be
(G) 45.7/ (D) 45.2/ (A) 43.7/ (E) 41.5.

Can you think of any detriment to upping the overall tension slightly (approx. 3 lbs), but having a better balanced set in terms of gauge?

Any advice/suggestions would be much appreciated.

IT would probably be A LOT less tension than the Rotosound Swings that some people use!!!

Had the first "real" test of the new formula 9050L's at dance band practice tonight (traditional 9-piece, 6 horns + rhythm). Amazing. They have exactly what is needed to support this type of band, playing everything from jazz and big band standards to the spectrum of Latin and contemporary charts. From the first note, the attack had more of a bloom than an edge, and all the horns settled back into the "pocket" better than ever. There is a distinct upright feel to them, but still their own personality. They have a little more "bounce" to them, and my articulations were actually cleaner than on the stainless rounds I had been using. This defined the beat and groove better for the band to follow. Even the drummer noticed the difference. Finally, I noticed that I was even more secure in my positions, not resorting to open strings nearly as much, even when sightreading charts to get a bearing.

I don't have the 105 yet, so I have the 100 for the low E, but I noticed that all is not the same from string to string. The width of the ribbon wrap on the low E is narrower than the ribbon wrap on the A string, which I perceive as giving the low E more flexibility so it retains overtones and matches the set better. I am really looking forward to trying out the 105.

iiipopes wrote:Had the first "real" test of the new formula 9050L's at dance band practice tonight (traditional 9-piece, 6 horns + rhythm). Amazing. They have exactly what is needed to support this type of band, playing everything from jazz and big band standards to the spectrum of Latin and contemporary charts. From the first note, the attack had more of a bloom than an edge, and all the horns settled back into the "pocket" better than ever. There is a distinct upright feel to them, but still their own personality. They have a little more "bounce" to them, and my articulations were actually cleaner than on the stainless rounds I had been using. This defined the beat and groove better for the band to follow. Even the drummer noticed the difference. Finally, I noticed that I was even more secure in my positions, not resorting to open strings nearly as much, even when sightreading charts to get a bearing.

I don't have the 105 yet, so I have the 100 for the low E, but I noticed that all is not the same from string to string. The width of the ribbon wrap on the low E is narrower than the ribbon wrap on the A string, which I perceive as giving the low E more flexibility so it retains overtones and matches the set better. I am really looking forward to trying out the 105.

Thanks for the review, Scott. You shall have that .105 shortly.

LEL

SMR 78 wrote:I assume you're liking these Fenders a lot better than the DTFs - is it because of tone or better balance (or both)? I'm still very happy with my TI's but want to experiment with others. How does the tone of the DTFs compare to the Fenders?

I no longer have any interest in the NOS strings, especially since I ordered them something like two or three months ago and still haven't seen them. No, the Fenders are exactly what I have been looking for--a warmer, more upright-ish version of the D'Addario Chromes to my ears with better balance in the 9050L set and even more so in the 9050CL set that is forthcoming. DTFs are fine but they are a little "aggressive" to my ears so I really prefer the Fenders.

Maybe I'll give the 9050L set a try on my V63...

I hope you do Joey--since you like Chromes and warm tones I think you'll really like these. They play and feel superb, and they don't cost much, so I'm happy as a clam that they've become my favorite flats.

Probably one of these days I will, Joshua. I'm just so into my Cheyenne IIs lately, I rarely play anything else.