Shopping for Bass Guitar Strings!

A Few Good Tones – Bass Guitar Strings

There’re only a few good sounds you really need when you’re learning how to play bass guitar, and a lot of that has to do with how hard you play, where you pluck the strings (near the bridge or nearer the neck), whether you use fingers or a pick, and just listening to the other musicians in the band or on your favorite recording, and trying to fit in – volume- and tone-wise.

Strings, of course, make up at least a third of your sound; maybe a fourth. Tone starts with the fingers or flat-pick to set the strings vibrating, which in turn causes the bridge to conduct those vibrations into the body of the instrument; while over on the other end of the instrument the nut feeds that same vibration down the length of the neck to vibrate sympathetically with the body. In the middle somewhere are the pickups, being driven by the metal of the string core and windings passing through its magnetic field – creating an electric current – which then passes through the output jack, on to the amplifier to be made louder before it hits the speaker. Piezo pickups work similarly but create the signal from the pressure variations in the substance of the piezoelectric material as the strings vibrate against it.

Fingers (or plectrum) – strings – material of neck and body – pickups – amplifier. Well, that’s five portions which make up the sound, but close enough.

But listen to your bass guitar unplugged; just the physical tone of the strings vibrating through the neck and body of the instrument: the basic, elemental sound it makes and how it vibrates in your hands, up your wrists and arms and against your chest. Like with any other stringed instrument, there’s a lot you can do to make different sounds: pluck toward the bridge and get thinner, tighter notes; pluck towards the middle of the strings to produce a warmer, fatter, mellower tone; pluck harder or softer to increase or decrease volume. And, surprisingly (or not), these differences are translated through the neck and body and into the pickups – magnetic or piezo.

Pick That Up, Put That Down – Pickups

But in ancient times – the 1960s through the ’70s – there weren’t many, if any, pickup-specific manufacturers offering as wide a range of replacement and souped-up pickups as there are now. If a pickup went out, you could take your bass to a local shop and have them find an original factory replacement, or a used one, or perhaps have the pickup rewound. Luckily pickups rarely died, but even when the new, improved, higher-output-low-noise pickups became available, there was the cost. I just couldn’t afford to go experimenting around, changing pickups in and out all the time, so original pickups were the way I, and many others, went.

That still left, however, the strings….

String That Thing

As mentioned before about these long-gone days of yore, there also weren’t as many string choices for the electric bass player as there are today: flat-wound, tape-wound, and…that was pretty much it. Pyramid, LaBella, Fender and Rotosound those were some of the brands. Now we have ground-wounds, half-flats, the wonderful (and by now standard) round-wounds, and any number of combinations and innovations thereof, with coatings and finishes, this metal and that alloy. And with the addition of bass-specific compressors and limiters, distortions, overdrives and chorus units (still one of my favorite effects for bass) amp- and cabinet-modeling software, new and vintage physical amps and cabs, the choice – and range of tone – has never been wider.

Still, as with any guitar, the fundamental sound comes from strings vibrating through the body and neck of the bass guitar. And it all boils down to two types of strings: the flat-wound, and the round-wound.

As might be guessed, the flat-wounds are basically made up of a solid-wire core, steel, like piano-wire steel. This is then wrapped with a flattened wire to produce a smooth, non-ridged surface. The strings sound warm, thumpy, with none of the higher, crisper upper harmonics created by their round-wound counterparts. It’s just the nature of how the flat, almost tape-like metal of the wrapping interacts with the round core. You can hear it unplugged, as well as when plugged into your bass rig.

On the other hand, round-wound bass-guitar strings are constructed of a thinner round-wire wrapped around a round piano-wire steel core. I think the crisp, edgy, bright and clanky tones they produce have to do with the way the round surfaces of the wrapping wire touches and moves against itself along the length of the string, in almost the opposite way the flatter edges of the flat-wound strings’ wrapping interact to create the duller, thumpier
sound. Imagine holding two one-inch diameter pipes alongside each other, side by side, and rolling them against each other. Then imagine holding two one-inch thick bricks edge to edge and trying to do the same; the pipes move and roll against each other easily, whereas the bricks want to remain level.

Of course, it’s not something you can see happening with the actual flat- or round-wire wrappings, but you can instantly hear it in the tone.

Which then, should you try?

Way back when, a set of bass strings was pretty expensive – at least twice the price of a pack of guitar strings and most times more. But even now, buying a new set of bass guitar strings isn’t something one does every other Friday. As someone with little cash at the time, it was tantamount to my buying new tires for my car once a month. Oh I was religious about making sure to wipe the sweat off the strings after practice or gigging, sometimes boiling them in a pot of water with a couple of drops of Dawn Detergent added to refresh them (not all that effective), but I just made do with what I had.

So I’d buy new bass strings only when I really had to; like after more than one would break (each being systematically replaced by members of the carefully-cleaned previous set), and the sound began to be noticeably different between the newer and older strings.

Best practice was to ask questions and find which set lasted longest, weren’t too stiff and thick to play comfortably, then stick with that brand: something playable, reliable, easy to get at any retail store. This was way before the Internet, so there weren’t reviews and customer ratings and having things delivered by FedEx or UPS.

Thing is, my first two basses came with flat-wounds: my Sears Silvertone Violin Bass, and a couple-three years later, the Ampeg Dan Armstrong Lucy Lucite. I played the Silvertone for a couple of years without changing strings; I was just happy to have an actual bass and not a guitar with the top two strings removed. But then there was this whole Rolling Stones thing, and Wyman with his space-age clear bass guitar, and that was wonderful. It was only later when I heard of Jaco that I heard also of round-wounds, and that was really the first set of bass strings I ever bought.

I believe they were the Rotosound 66M Swing Bass strings because of the shorter scale-length of the Lucy Lucite. It was a voila! moment. I was so pleased with the sound that later on, with my Rickenbacker 4001, the only thing I did was ascertain the scale-length, before heading out to buy a set of Rotosounds for it

Then there came years of playing guitar exclusively, for which I finally settled on the D’Addario brand, and when I needed replacement bass strings, I simply stayed brand-loyal to D’Addario.

Fast forward a decade or so when I started home recording – especially wearing headphones – and bass-guitar tonality really started to become a prime focus.

Now here’s the thing: when using round-wound bass-guitar strings, you can always turn the tone-knob down to roll off the highest frequencies. We’re talking non-active pickups now. But with the highs rolled off it still sounds
like bright, crisp round-wounds with the highs rolled off, if you know what I mean. A dull version of something bright; like trying to darken an over-exposed picture in Photoshop.

This is just fine for most applications – rolling the highs off – especially when playing live, but you really start to listen more when laying down a track (over and over and over again). And since I’d just gotten my Rick 4001 burgled, I decided on a Jay Turser JTB2B Beatle Bass as a replacement.

Funny…it arrived strung with generic round-wounds!

First thought was: ‘Flat-wounds.’ On this planet, in this reality, it’s a no-brainer: Beatle Bass with flat-wound strings. I looked them up, found who played what, got scale lengths, gauges, etc. The Pyramids were way too expensive, the Rotosound
Tape-wounds were…I don’t know – not the right feel; a little too thick, as well. But right in the middle, with a light-gauge offering was Rotosound and their 77M set.

I have to say that that was the perfect, most inspiring combination: the Turser Beatle and the Rotosound flat-wounds. Even with the tone controls all rolled up, there was that semi-bright thumpy sound which wasn’t anything like round-wounds with the treble rolled off. The sound also had a great deal to do with the fact that the Turser was a short-scale bass (or medium, depending on which string company’s chart you look at) and the combination of lighter strings of a shorter scale length really gave an almost upright bass sound. Or at least a Beatle-esqe sound, which, I found, was good on just about anything I wished to record.

It just sat nicely in the mix, in other words.

By that time I’d also acquired a Squier P/J and an Essex 5-stringer. The Essex (or SX) was strung with round-wounds (D’Addarios, then Dean Markley Blue Steels) because I wanted a growly-clank to cover what the Rick 4001 would’ve done in rock-ish compositions. I strung the Squier
with D’Addario Nickel-Wound XL round-wounds, but quickly changed them out for a set of Rotosound 77’s when my enjoyment and appreciation of the flat-wound sound really took hold.

That’s pretty much where I left off, though I have to add that the Dean Markley’s for the 5-string were a one-off; I just wanted to see how much better they’d be than the D’Addarios.

Which, at least for my recording applications, weren’t much.

What Makes You Smile?

As far as brands and types of bass guitar strings, you can find any number of discussions – many times heated – on various boards and blogs on the web, touting this brand or that as being the absolute best, the longest-lasting, having the best tone, sound, and etcetera. Same with amplifiers, bass cabinets, speakers, cables, software, FX pedals or boards or modules.

Thing is, you can toss all that out when starting out: it still comes down to the basics of what kind of music you like playing or playing along to. Do you enjoy the thick, mellow thumping of an upright bass viol, or the crisp clanking in a speed-metal or prog band? What bass sound do you
connect to? Which makes you go whoa…? What sort of bass string feels good against your fingertips, and makes you smile a little without realizing it?

Flat-wounds. Round-wounds. That’s what it comes down to.

And if you like both, well…looks like you’re going to be a bassist with at least two bass guitars in your inventory.

Rick
Fingers On Strings

rick@fingersonstrings.com

Electrical Contact Cleaner

Cleaning Up Your Act

Though not particular to making music or playing the guitar, unwanted noise when turning dials and knobs or flipping toggle or blade switches has been, can be, and might always be, a problem for anyone involved in making adjustments to electronic/electric devices. Most things now have no physical connection needed in order to transmit data from one module or database, to another – technology communicating seamlessly, wirelessly – but many times even pieces of tech need to be plugged into something else in order to function as data gathering or storage devices.

And where there is physical, metal-to-metal contact, given the metals and substances used in connectors, there can be a problem with corrosion, dust or oxidation getting in the way and causing errors.

Weak and Noisy

The problem is especially true when dealing with sound-producing devices being hooked together. The great majority of electronic musical devices – guitars, basses, keyboards, even microphones and other collections of amplifying/sound reproducing systems, i.e. PA systems – still need plugs, jacks and some sort of cabling to interconnect them. Physical connectors, made of metal, allowing digital or analog signals to pass through.

But add time and oxygen in the air – or any other corrosive such as the salt and oils in perspiration – and these connections can become, well…less than optimal. Pick up an electric guitar or bass, plug it in, and perhaps you’ll hear that scratchy sound, that irritating extra noise that has nothing to do with music.

Or if your plugs and jacks in the instrument and amp are fine, sometimes you’ll turn a knob – either on the instrument or amp – and you might hear another scratching noise.

A Feverish Frustration

When I began playing electric instruments through an amplifier, the random (or sometimes not random) noise coming from scratchy volume and tone pots (potentiometers) was maddening. Luckily for me my father had been into electronics beginning in the 1930s or so, starting with the ‘crystal sets’ every boy apparently had in those days. He became a radio enthusiast, a HAM radio operator, was in the Signal Corps in the Army during the 40s, and afterwards worked in the telecommunications industry. His hobby and love in life was still, however, electronics and tinkering with all things electric.

–Which, in my case, afforded some experience in the cleaning of potentiometers and switches. He had an array of liquid (bottled), and aerosol contact cleaners to do the job. When I started playing electric guitar and bass and ran into the scratchy-pot problem I began borrowing some of these noxious solutions to clean the insides of the switches and whatnot.

And they did work.

The only thing was, they only worked for a limited amount of time. They seemed to clean – and dry – the contacts inside the potentiometers, and pretty soon carbon dust build-up from the contacts would again start creating noise.

Over the years, maybe 20, I tried all brands of contact cleaner available from radio parts shops and electronics stores. There was a certain amount of hope involved in each brand purchased, but I was always disappointed.

The problem was compounded when I discovered fuzz-boxes, distortion pedals, echo units, chorus pedals, flangers, volume and wah-pedals. All those plugs and jacks and connecting cables! It was a good thing I was handy with a soldering iron (another gift from my dad), but…really….

And when I finally had too many effects units to quickly setup at gigs or rehearsals and made my first and second pedal-boards, things got even worse: worse because now the pedals were screwed down to the board in close, compact proximity, and in order to squirt contact solution into the jacks and work the plugs in and out a few times, I had to basically disassemble the entire board.

The cleaners I had at the time did work, but it was something that needed to be done about once a week.

The Best

Years after I’d stopped actively gigging and had gotten into home recording, I found a brand of contact cleaner I’d never heard of before. It was mentioned on some home-recording site if I remember correctly. I ordered it, tried it, and, well, never used anything else since.

CAIG DeoxIT.

CAIG has an extremely wide range of cleaning/conditioning products for just about every imaginable application and industry, but I ordered a spray can of DeoxIT D-Series and one can of the DeoxIT Gold. That was it. I still have the first two cans I ever bought because though the stuff is expensive, it just lasts, and you won’t find yourself going through cans and cans of it. I only wish I’d discovered the brand back in the frustrating days of pedal-board maintenance, but better late than never, right?

And I think the reason the stuff lasts (I mostly just use the Gold, now) is because it doesn’t clean and dry the wipers and contacts: it cleans and conditions the internal working parts, preventing build-up and oxidation. Knobs turn more slickly, switches glide and don’t crunch; wonderful. And no noise. Oh, you’ll get a bit of clicks and whatnot depending on the actual age of the pots and switches, but other than that, it’s slick and sweet.

And quiet.

I don’t remember all the brands I’ve tried over the years – stuff from Radio Shack and various other electronics parts stores – but I’ll never spend another cent on anything else.

And, if like me, you have a few guitars or basses you’ve had stored away for a few years – or if you’ve just bought a fixer-upper to be a project guitar – one that spent a lot of time in smoky bars and clubs in the 80s – I still heartily recommend CAIG products to clean things up. I mean, most pots and switches don’t need replacing; just cleaning.

Doesn’t hurt to know how to solder though.

That’s it, and enjoy new-sounding potentiometers and switches with a little help from CAIG.

Rick
Fingers On Strings

rick@fingersonstrings.com

The Best Guitar Picks?

Picking a Pick – So Many Choices

Picks; guitar-picks; plectrum. Well, plectra; many names, but the same thing. The best? That’s like asking which is the best car, the best brand of mayo, or the best sandpaper for guitarists’ fingernails. The answer is: It’s what you finally decide on. But until then, the picks you most likely received with your guitar (hopefully, the manufacturer included them) are the classic guitar-pick shape; a roughly elongated triangular piece of plastic, with each corner rounded and smooth. Tear-dropish looking. You might have a selection with L, M, or H (or, Light, Medium, Hard) imprinted on one side, letting you know the thickness or stiffness or gauge of the thing.

A good selection for a starting point.

Other brands – ones you might see in music stores or online – might have the thickness (thickness usually equates with stiffness) designated by an actual measurement in millimeters. This can get a little confusing, especially when confronted with a choice between 0.5mm, 0.6mm, 0.73mm, 0.88mm, 1.0mm, 1.14mm, 1.50mm, or 2.0mm gauge picks. I mean, who decides these specifications?

Then there are the differing shapes: equilateral triangles of various size and thickness; sharp, rounded points; dull, rounded points, ones that are shaped like fingernails but are flat; smaller, classic-shaped; contoured (from thick to smoothly-shaped knife-edge) and…then there’s a whole world of differing materials the picks are made of: the earliest and most numerous being made of celluloid (yes, like in film-stock).

I do miss the fragrance of celluloid – but that’s just me.

But to start off with, we’ll just look at the standard-shaped, standard-thickness plastic plectra, just to keep things simple.

Strum – Brushing the Crumbs Away

Let’s start with the thinnest gauge pick, marked L or Light or Thin. Hold it between thumb and forefinger; not too loose and not a death-grip. With your guitar in your lap, just strum up and down, sorta like brushing crumbs off your shirt. You can allow your other fingers to curl loosely; you might want to use them eventually for a combination of flat-picking and finger-picking so don’t try to curl them up and out of the way too much.

One way to visualize your picking-hand finger-positions is to lay your hand palm-down on a table, so your thumb is resting on its side, then slide your other fingers inwards so they curl, with just their tips touching the table-top. Like a loose fist. Then bring the underside of the thumb so it touches the nearest side of the index finger. Right there, with that feel, is where the pick will be held.

Cradle the pick just about dead center with the pointy end towards the guitar strings, then strum; downwards at first. You’ll feel the pick vibrating between your fingers, trying to get loose and fall away, so grip harder. You’ll get the feel for it after strumming for a few minutes, and when you’re ready, if you haven’t already, start strumming both ways, down and up again. There’ll be a different tug from the pick when you up-strum, but now’s the time to not think about it too much, to over-think things. Just strum. Strum slow; fast; harder; softer. Feel the flat-pick flexing. It’ll probably ‘catch’ on certain strings while reversing strum-direction, so just think about moving your strumming hand and arm parallel across the strings, evenly. Brushing the crumbs.

Angle of Attack

Here’s another concept to consider: visualize holding your guitar upright so the sound hole or pickups are facing you. The guitar strings are running straight up and down. Well…you’ll see how they angle slightly from the bridge towards the head-stock, go through the nut (grooved, white plastic thing that keeps them in place), then up to the tuning keys. That angle is predetermined and historic in a way. It adds nothing to the sound, just the ability to have a thinner neck to easily get your fretting-hand around – though not too thin so you can’t place your fingertips precisely – while maintaining a nice spacing down by the bridge so you can get your picking fingers or flat-pick between the strings. Usually only lap- or pedal-steel guitars have all the strings absolutely parallel to each other because you don’t actually have to press the strings down directly onto the frets.

But getting back to visualizing your strings: imagine now positioning your guitar pick so it’s angled upward along the strings. If you then take hold of the pick and strum, you’ll notice the flat faces of the pick contacting each string; one side for the down-strum, the other side for the up-strum.

This is fine, but depending on how you hold the pick between the index and thumb, with some people – like me, having thumbs with a last-joint which curves backward – when you hold the pick firmly, the angle will be up at the front edge of the pick and down at the back. But having thumbs which let you angle the pick down at the front and up at the back edge, like most people is also great. It doesn’t matter either way; it’s just something to be aware of, to realize what feels comfortable and natural. The main idea though, is that for most things you’ll play, this slight angle is actually beneficial: it lets the edge of the pick slice over the string instead of flicking flat-wise across it. It gives a smoother, less slappy sound.

Similar to what we were talking about with the shaping of fingernails in a previous post.

So with this in mind, start strumming again, being conscious of the angle of the flat-pick as you brush those crumbs away.

Smoother, right?
The feel of the pick between your fingers will be slightly altered, but just keep strumming till it starts to feel natural, then don’t think too much about it again for a while.

Sounds and Colors

Now try out your other picks, the thicker ones. You’ll notice with the thicker, stiffer plectra, the sound is louder with the same amount of strumming force. This doesn’t mean you have to switch picks every time you want to play louder or softer; you can even play quietly with a super stiff pick just by decreasing strumming force, or by cradling the pick just a little less tensely as you make contact with the strings.

And depending on the shape and size of the pick you have, you can also let more or less of the pick protrude from between your fingers. Just picture putting your pick between the jaws of a vice: if you clamp it at the extreme back edge so most of it is visible, then flick a finger across it, it will vibrate and bend quite easily. On the other hand, if you clamp the pick with just the very tip is showing – even a soft, thin pick – it would be nearly impossible to bend it even a little.

Selecting Your Perfect Pick

Okay, so selecting the perfect pick might take some time. Over the years I’ve collected quite a variety of guitar picks. I used to go to the local music shop (Harry’s, in my case) and sort through the compartmented display boxes of picks. My first non-traditional guitar pick was by Dunlop, called the H3 Jazz Pick. Back then they were still made of celluloid, came in H, M, and L. And even though I wasn’t playing jazz, I loved them! They were smaller and pointier than the standard shape, and just felt nice in the hand. Again, this was a personal thing and you might find other shapes that are easier to hold and manipulate (how hard you hold it, at what angle relative to the strings, where you hold it, and the other things already discussed).

I was quite happy with the H3 and would buy handfuls of them. Celluloid, as you might’ve already found out, wear down on the edges where they come in contact with the strings, especially the rougher, wound strings, though the plain unwound ones will do the same thing after a lot of playing. But…Dunlop stopped making them in the late 80s sometime! They introduced the Jazz III in Stiffo Nylon (along with the II’s and I’s with progressively blunter tips like the original celluloids), and I used those for quite some time. They were exactly the same shape as the ones I loved and had absolutely no flex to them at all. They were the first I ran into which used the millimeter thickness designations as mentioned above, and I opted with the 1.38mm.

Still, I wanted a nice fresh handful of the original celluloids and even contacted the manufacturer and asked if they’d ever offer them again. The answer was that celluloid was getting hard to come by, so they were not going to be putting them out again. They did come out with Tortex versions, which were long-lasting (I don’t remember ever wearing one out) and those were okay. Dunlop’s next step were Ultex picks, which I thought was going to be a material similar to actual celluloid, but even when I found out they weren’t, they were…acceptable. It’s just that certain plastics have different feels, even in the same gauge of thickness. I guess if you look at how the molecules of each type of plastic move when flexed, it might be more specific. But the bottom line is, it just feels different.

Included in the picture are three of my remaining celluloid favorites: H3, M3, and the thin L3.

When I found I couldn’t get them any longer I switched to ones made of the other materials because I didn’t want to run out. I didn’t want to get used to something again that I couldn’t get more of; have an Oh no, this is my last good one! moment. I could have hand-shaped some out of sheet tortoise-shell-patterned celluloid, but that would’ve been missing the point, so to speak. I wanted not to have to think about picks, about making them, where to find them, or if the world supply was running low. I wanted something that was standardized, easy to obtain.

I eventually went back to the classic (351) shaped plastic (Fender California Clears) and the Dunlop Tortex picks, because after so many years of playing, I could get used to any shape for everyday use. Funny though, Dunlop still makes standard shape celluloid picks, so…I guess the supply wasn’t all that critical?

Also included in the photo is the large triangular celluloid pick by Fender. For me, the Thin version of this pick is wonderful as a special use pick, used to give acoustic guitars a brushier, strummier sound by holding it lightly and towards the back edge, and letting the tip pass over the strings quickly but delicately. This was especially useful in home recording to get some nice, full-sounding overdubbed fill tracks going without having to use compressors and limiters. A big, soft pick on a 12-string, proper mic placement (pointing down towards the sound-hole from the 12th fret) sounds pretty full without being overbearing.

As I understand it, Santana uses or used large triangles – the thicker ones – and though bigger than standard, it’s what he’s gotten used to over the years and doesn’t seem to get in the way of his signature fluid scalar passages and complex figures. Other people, John McLaughlin for instance, use tiny picks almost the size of a fingernail, but like I said earlier, it still comes down to what fits your hand, how it feels between your fingers and what sort of sound you want to achieve.

Cheap Thrills!

There’s this other thing about guitar picks. I don’t know how many guitarists out there feel the same way I do, but there’s this thing about getting any new piece of equipment; you want to see and hear and feel what difference it will make when you actually get back from the store, or open the shipping envelope, and try it out with your actual rig, your own setup, your own instruments. Like the first time I plugged a fuzzbox together with a wah-wah pedal. It was like, Oh, fuzzbox into wah-wah, sounds…nasally, but wah-wah into fuzzbox sounds sweet!

In the world of guitaring, there’s really nothing cheaper you can buy to experiment with than guitar picks. New guitar strings, maybe, or a cheap peg-winder. But picks are just about the cheapest and most fun things to try out, and if you get a collection of different ones going, or start with an assortment of thicknesses, or shapes, you’ll eventually have lots of sounds to play with.

 

If you ever need a hand with something or have any questions or comments, feel free to leave them below.

Rick
Fingers On Strings

rick@fingersonstrings.com

Silicon Carbide Sandpaper for Fingerstyle Guitarists

Products:

Places to Buy: Various online places, including eBay, StringsByMail, and Amazon, as well as various brick and mortar outlets such as Autozone, Walmart and others.

Size/Count: Single-sheets, 20, 50, 100, Variety packs

Guarantee: No, as these are consumable products

My Rating: 10/10


Product Specifications:

  • Silicon Carbide is what makes up the ‘grit’ of the sandpaper and is ideal for general purpose sanding on wood, metal, plastic, dry wall, fiberglass, glass, and ceramic. Aluminum Oxide is a good alternative sandpaper material though it is less sharp and wears faster; in industrial applications this might be a problem, but for our usage, not so much.
  • Stearate coating and open coat construction minimize loading (which means the dust of whatever you’re sanding doesn’t remain ‘stuck’ between the particles, thereby clogging it)
  • A-weight paper provides flexibility for finishing contours and angles making it easy to get around and under the fingernail edges. Sandpaper paper weights are given in letters, ‘A’ being the thinnest paper, ‘B-weight’ being slightly thicker, and so on.
  • Paper sheet is easily sized according to the task (with a scissors). This is also true for sandpaper brands which have rubberized or padded paper backings.
  • 9″ x 11″ sheets divided into quarters fit most hand-sanding blocks I’ve also seen it sold in rolls and disks but these usually have an adhesive backing to attach to sanding blocks or electric sanders; something which you might do better to stay away from.·

Pros & Cons:

  • Pros: The 3M 415N 320 Grit is the silicon carbide sandpaper I’ve used for years now, and it works perfectly for polishing the edges of fingernails; all important if you use your nails for fingerstyle guitar playing.
  • Cons: But…if you noticed, the stuff is near impossible to find online because 3M no longer makes it. Online places sometimes (rarely) sell the sheets in bulk packs (50-100 pcs) but as you’ll need, at most, just a couple of 9″ x 11″ sheets – since you’ll be cutting them up into 1-inch squares – it’s not cost effective to buy in bulk. You might come across unused old-stock at auto body shops or wood-working/finishing places, but pretty much, according to a 3M representative, 415N has been replaced by the 426U sandpaper.
  • Price: Even the 426U sandpaper comes in bulk packs at $50-$70 per pack and so it’s still not cost effective in my opinion. Better to try eBay and the other alternatives mentioned at the top of the page.

Recommended? I still have most of one sheet left of the 3M 415N, and because I use small 1″x1″ squares, it will probably last me another 10-20 years, which at my age, is most likely the rest of my life. But if I ever do need to replenish my supply, I’d probably look for the 426U at eBay (though the shipping’s high), or the 405U from StringsByMail. The 405U is 500 Grit, but from what I’ve heard, it works great.

I also have to add that I’ve never tried grits close to 320 – the 220, the 180, for example – though I’d lean more towards the finer, higher grit number if possible; 300’s and up.

It would also worth looking into the very popular Micro-Mesh products made by Micro-Surface Finishing Products. These grit surfaces range between 1500 and 12,000 (!) and would be interesting to try out. 12,000 seems almost fine enough to rub out scratches in your guitar finish, but don’t quote me on that.

Anyhow, that’s my assessment, and though it can take a little looking around it’s well worth the trouble it might take, though your local music or autobody supply store might have some of these items just right there behind the counter.

 You never know.

 

If you ever need a hand with something or have any questions or comments, feel free to leave them below.

 

Rick
Fingers On Strings

rick@fingersonstrings.com

 

 

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