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Nikki Six Helix SS Bass Strings (3 pack) — List: $54.95 Street: $26.99 (each)

Heavy Bass with Pick Signal Chain

  • Ibanez 2609B
  • Dean Markley Nikki Six Helix SS Bass Strings (3 pack)
  • Dean Markley Refill Bag of 72 1.0mm Delrin Blue Picks
  • Millennia Music & Media Systems HV-37
  • Avid Digi 003
  • Toontrack EZ Drummer
  • Universal Audio UAD-2 Satellite Quad Core

Nikki Sixx Helix SS Bass, the actual Nikki Sixx strings!!! Here is the special set of Nikki Sixx Helix HD SS Bass strings. When you put these suckers on your bass, you get the exact strings in the exact gauges Nikki uses in his wild performances. Built to take a Nikki Sixx kind of licking—then keeps taking more. With bite for days!!!!!

Nikki’s HD SS Bass Strings are made of a special Stainless Steel alloy that has an inherent bright and cutting timbre to it. It gives a Bass String an unforgettable “stainless” tone. Something you need to play to really understand. Blue Steel Bass is a Stainless string. So if you’ve played them, you are close to knowing what Helix SS Bass would basically sound like.

However, Helix goes a few steps further in the patent pending way it is designed and constructed. Just like the NPS Helix Bass, Helix SS Bass features the Hyper Elliptical Windings (compressed from side to side), which gives Helix more Mass and Tone, as well as extended life. This Hyper Elliptical winding is what gives Helix its special feel—a more relaxed feel, with a lot less squeak and sliding noises than normal strings.

Give 'em a try. That is the real test. Enjoy!!

 

GAUGES

#2620 SIXX: .050, .070, .090, .110

 

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

Most of you may not realize the technology and finesse involved in creating their strings. At Dean Markley, the way they make bass strings, and for that matter all of their 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 their bass strings are made using compounded winding. This simply means that they 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 they get to thicker gauges like .095, they use three covers. At .120 they use four covers, while other manufacturers continue to use no more than three covers on large strings. They do this for two reasons. First, they try to use a reasonably small final cover. This makes the string's surface as smooth as possible. And second, compounding allows them 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's desired.

Another factor considered when creating their bass strings is the "core to cover ratio." These ratios vary as they 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. Dean Markley's engineering philosophy maintains a 60% rule when developing new designs, because their strings are plucked, slapped, or worse, and not hammered like a piano. Each material used has a specific weight which influences tension, so they 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.

GAUGES

#2620 SIXX: .050, .070, .090, .110

Starting with the Ultimate Speaker Demo, an ever-increasing number of the GearTunes audio  clips are being tracked using the Radial JCR Reamp. The Reamp was invented by my good friend and colleague John Cuniberti who engineered/co-produced many of Joe Satriani's most infamous recordings.

For GearTunes, reamping allows me to record a track where the guitar "hears" the amp in the room, but initially only the guitar or guitar and effects signal is recorded. This allows me to spend additional time perfecting amp tones and mic placement once I have the performance I'm looking for. One of the byproducts of this process is the creation of GearTunes DI Clips which enable you to play select guitars and effects through your amp by using your mobile device or computer as a reamp device.

For GearTunes DI Clips - and Gear Tune DI Clips ONLY (always found under the DI clips tab for gear that has one), you can play our guitar and effects through your amp. Simply use an unbalanced cable that terminates with an 1/8th inch jack on one end and a 1/4 inch jack on the other. Connect the 1/8th jack to the output of your mobile device or computer and the 1/4 inch jack into the front of your amp. Start off with your amp volume at zero and your mobile device (or computer) volume all the way up to ensure you hit the front end of the amp with enough signal, and then gradually increase the volume of the clean channel on your amp until you reach a level that is not capable of causing damage to your ears or equipment. GearTunes accepts no liability for the use, abuse or misuse of these clips, and playing them into your amp is done exclusively at your own risk.

I am tremendously excited about being able to share GearTunes DI Clips with you as you journey on your quest to find right gear for the music you play! Cheers ~ Doug:)

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