4-string vs 5 string. Which is Better? | EP37 | The SBL Podcast #173

Key wellness / self-care / productivity themes & strategies

Diet reset & self-discipline (congestion warning noted)

• A “no sugar + no gluten” diet was used as a health reset after intestinal Candida.
  • No sugar challenge: 7 months
  • Strict interpretation: avoiding common hidden sugars in many foods, including sauces/condiments.
• Practical behavioral takeaway implied:
  • If you commit to a restrictive goal, plan for real-world friction (e.g., snacks and availability while traveling).

Hunger, mood, and emotional regulation

• Hangry behavior is discussed:
  • One presenter says they experience hangry “once in my entire life.”
• An “in the moment” wellness mindset:
  • Even while dealing with congestion, they acknowledge it and apologize for sounding “bugged up,” emphasizing self-awareness and communication.

Travel planning for wellbeing

• During long walks/trips, a key lesson was that food access can be limited:
  • Plan ahead when you’re on a restrictive diet (e.g., when there may be no shops or petrol stations carrying suitable options).

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Key music learning / productivity strategies (main content of the podcast)

“More strings” isn’t automatically “better” (learning cycle)

The discussion frames multi-string instruments as a learning cycle:

• Start with the belief that “more is better”
• Later realize the practical tradeoffs—especially the need to manage extra information.

Beginner decision framework: choose the instrument based on goals + tradeoffs

• There’s no single “correct” starting string count—it depends.
• Considerations raised:
  • Your musical genre
    • Some genres (e.g., metal/hard rock, gospel traditions) benefit more from extended low range.
  • What you’re trying to learn
    • Focus vs distraction:
      • Extra strings = more things to learn/visualize, and more things to manage/mute.

Practical “reality check” for 5/6 string difficulties

• The core challenge emphasized is muting/controlling unwanted string noise, especially:
  • The low B string (and even more so on a 6-string).
• Studio reality:
  • Problems you may not notice live can become obvious in the studio and on big PA systems.
• Takeaway:
  • Practice/prepare for recording-level clarity.

Technique adjustments required for 6-string

• If you use an “over-the-neck thumb” technique:
  • It can work somewhat on 4/5
  • But for 6-string it often won’t work—the fretting-hand thumb needs to be on the back of the neck.

Learning faster by reducing cognitive load (personal strategy)

• One presenter’s approach:
  • Temporarily remove the extra strings (B and C) on a 6-string to simplify learning.
  • Result: fewer notes and less visual clutter—felt like learning accelerated.
• Analogy used:
  • Like cooking with spices: fewer options can help you start with essentials.

Pro-level “necessity” (performance preparedness)

• For working/jobbing pros:
  • Having a 5-string can be important to avoid being unable to sight-read or cover chart requirements.
• Studio/session backup strategy:
  • Engineers/producers may expect specific low ranges; missing them can be a major problem.

Cost & accessibility guidance

• 5-string instruments are described as more affordable than people assume.
• Budget workaround:
  • Re-string a 4-string into a “tenor-ish” configuration:
    • BEAD (dropping high string behavior)
    • or ADGC (keeping higher range patterns)
  • Mentioned as a way to try extended range without buying a new instrument.

Encouragement to experiment without “permanent” commitment

• Advice given near the end:
  • If you feel pulled toward 5 or 6, just do it.
  • It’s framed as flexible exploration rather than a “bass jail” irreversible life decision.
  • “Dip your toe” vs “go deep” is acceptable.

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Bullet-point takeaways (actionable tips)

• If you’re restricting diet for health: plan for
  • snack/food availability during travel
  • avoiding hidden sugar sources in sauces/condiments
• When adding strings to your bass:
  • expect extra complexity in muting and string control (especially the B string)
  • validate problems in recording/studio-like conditions, not just rehearsal
• For beginners:
  • choose based on why you want it (genre + goals), not status
  • consider simplifying temporarily (e.g., removing extra strings) to reduce cognitive load
• For 6-string players:
  • re-check your fretting-hand thumb technique; “over-the-neck thumb” may not work
• For working players/pros:
  • have the right tools (often a 5-string) to handle charts and low-range demands
• For budget trials:
  • consider re-stringing your existing bass (BEAD / ADGC) to test extended-range needs

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Presenters / sources (as referenced)

• Scott (SBL Podcast host; speaker in the conversation)
• Allan (videography/editor referenced)
• Gav (videography/editor referenced)
• Jim (rocks student experience; referenced team member)
• Ian (visiting for training/course filming)
• Ben (SPL team member; amp discussion)
• George (dog, referenced for a humorous interlude)
• Connor (mentioned in passing)
• Alan (mentioned in passing)
• Rich Brown (referenced; course/content source for 6-string interest)

Alleged model/brand references

• Antigua Jazz Bass, Fodera, F-Bass, Michael Lull (Spencer Lull), Dingwall D-Rock, Overwater, Ken Smith (in comparison)

Musicians referenced (examples/genre context)

• Geddy Lee, Marcus Miller, Victor Wooten, Flea, Gary Willis, Oteil Burbridge
• John Myung, Victor Wooten (again), Sean Hurley, John Button
• Matt Garrison, Yanick Gualais, Tony Gray, Andreas Rott Mistrovski
• Dream Theater, Scott Divine (as a model name context)

Other teaching/institution references

• James Murphy (drummer) (Berkeley-teaching source mentioned; Instagram)
• Berkeley (institution referenced for James Murphy)