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SR2000™ Bass

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BASS STRINGS
Oh yeah! This is one hot string! Taper-wrapping at the bridge allows SR2000 to vibrate easier . . . and longer.

Available in 4, 5, and 6 string sets.

The Experience

As a diminutive female, I’ve often had to overcome stereotypes about bass players. Seems that when people think of bass guitar, they think big. I guess it makes sense, in a way—bigger people probably have an easier time playing a bigger instrument. But I’ve gotten used to the comments. It no longer bothers me when someone says if I wanted to play a four-stringed instrument, a ukulele would be a better fit. These comments stop when I’m playing, you see.

There’s nothing small about my sound. When I lay down a groove, I feel bigger than a Greek goddess. Someone once told me that my bass sounded like a 9-foot grand piano. I just smiled and nodded my head. “A lot easier to carry, too. Lugging that piano around was starting to hurt my back.” I think it took him a second to realize I was joking, and then the absurdity of it made him laugh. “Still, it’s amazing how someone so little can get such a big sound.” Like I said, I’m used to it.

“I’ll let you in on a little secret,” I say a confiding tone. He leans toward me expectantly. I point to the strings, Dean Markley SR2000’s. “Taper-wrapping at the bridge allows them to vibrate more freely.” He looks crestfallen, as if he expected to discover that I really was a Greek goddess. “You mean it’s in the strings?” he asks incredulously.

“Yup.”

Dean Markley SR2000. Big sound without the big price.

Gauges

4 String
F C G D A E B
2688 LT .044 .060 .078 .098
2689 ML .046 .063 .080 .102
2690 MC .047 .067 .087 .107
2691 MED .048 .067 .084 .106

 

5 String
F C G D A E B
2692 LT .044 .060 .078 .098 .125
2693 ML .046 .063 .080 .102 .125
2694 MC .047 .067 .087 .107 .127
2695 MED .048 .067 .084 .106 .127

 

6 String
F C G D A E B
2696 LT .030 .044 .060 .078 .098 .125
2697 ML .030 .046 .063 .080 .102 .125
2698 MC .027 .047 .067 .087 .107 .127
2699 MED .035 .048 .067 .084 .106 .127

 

7 String

 

F C G D A E B
2698C MC .022 .027 .047 .067 .087 .107 .127


Dean Markley Bass Strings Intelligently constructed with our unique approach to compound winding.

Most of you may not realize the technology and finesse involved in creating our strings. Here at Dean Markley, the way we make bass strings, and for that matter all of our strings, is unique. Every company makes ‘em a bit different, and the "recipes," while they may look the same, can be quite diverse.

With the exception of strings smaller than .050, all of our bass strings are made using compounded winding. This simply means that we are building the mass of the string using smaller incremental sizes of wire. The winding directions are reversed between layers to "cross-hatch" the covers. This makes the string smoother.

The term "compound wound" does not necessarily mean two covers. When we get to thicker gauges like .095, we use three covers. At .120 we use four covers, while other manufacturers continue to use no more than three covers on large strings. We do this for two reasons. First, we try to use a reasonably small final cover. This makes the string's surface as smooth as possible. And second, compounding allows us to use a smaller more flexible core wire, which enhances the string’s playability.

As an additional and very important factor, the process tension (the tension that the core is held at during the winding process) is equally important to obtain the final recipe that we desire.

Another factor we consider when creating our bass strings is the "core to cover ratio." These ratios vary as we hone in on just the right mix that offers the best playability and durability. If a string is designed in such a way that the core percentage is too large, then playability is sacrificed. If the core percentage is too small, the string can break, and obviously that isn’t what a player wants!

There is a rule that comes from the early 1900's piano string industry that states that a string’s tension should never exceed 66% of the breaking point of the core. Our engineering philosophy maintains a 60% rule when developing new designs, because our strings are plucked, slapped, or worse, and not hammered like a piano. Each material used has a specific weight which influences tension, so we use mathematical modeling to determine just the right mix of core to wrap. Sounds technical, but the important result is a great sounding string that lasts. So thump ‘em, slap ‘em, pick ‘em, caress ‘em. They’ll give you the love right back with tone, resonance, and sustain that just doesn’t quit.