The debate surrounding the tonal characteristics of extra bass strings compared to the wound strings on a standard 6-string guitar is a frequent topic among extended range guitar enthusiasts. Many players and even luthiers ponder whether the lower register strings on instruments like the Nine String Guitar suffer from a significant tonal disparity. However, based on practical experience and a closer examination of the physics involved, this concern appears to be largely overstated.
Having explored a range of extended instruments, from 8-string guitars to even more expansive 13-string models, a consistent observation emerges: the perceived tonal difference between the bass strings and the higher strings is minimal. The primary challenge with open bass strings lies not in their inherent tone, but rather in the necessity for meticulous and consistent damping. Without proper muting, these lower strings can easily create a muddy sonic texture, clouding the harmonic clarity of the instrument. This issue is pertinent to any extended range guitar, including the nine string guitar, where the lowest strings resonate at frequencies significantly below the standard 6-string range.
One elegant solution to mitigate potential tonal inconsistencies and string feel issues is found in the design of alto 11-string guitars and similar extended range instruments. These guitars often employ gradually longer scale lengths for the bass strings, allowing for the use of standard 6th strings even for the lowest notes. This approach maintains a consistent string thickness across the fretboard, which is particularly beneficial for players who dislike the sensation of overly thick, piano-like bass strings. Furthermore, using identical string types ensures a high degree of tonal consistency across the entire range of the instrument.
Considering the use of thicker gauge strings, as sometimes encountered on 10-string guitars tuned in Romantic tunings, a subtle tonal difference may be discernible – perhaps a slight dullness. However, even in these cases, the deviation from the tone of the higher strings is far from dramatic. Listening to recordings of 10-string guitars and comparing them to instruments like 11-string guitars with similar scale lengths reinforces this observation. The thicker bass strings, while lower in pitch, do not exhibit a drastically different tonal character compared to the standard gauge strings.
It’s plausible that the perception of a significant tonal difference is influenced by pitch itself. Our ears are so accustomed to the sonic landscape of the standard 6-string guitar that the markedly lower frequencies produced by the bass strings on a nine string guitar and similar instruments can create a subjective impression of a more substantial tonal shift than is actually present. This phenomenon might explain why some players find the higher pitched A string on certain guitars, like the Brahms guitar, to sound excessively bright, even when it is technically an E string at a shorter scale length. Perhaps, acclimatization to these extended pitch ranges is simply a matter of time and focused listening.
A more pronounced tonal disparity, and one that many 6-string guitarists are already familiar with, exists between the 3rd and 4th strings on a standard guitar. The stark contrast between the relatively weak and dull 3rd string and the more resonant and expressive 4th string is often noticeable, especially when demonstrated to musicians unfamiliar with the guitar. Many players resort to using fluorocarbon 3rd strings in an attempt to minimize this tonal gap, yet the contrast remains a perceptible characteristic of the instrument.
This inherent tonal imperfection on the 6-string guitar is largely accepted due to familiarity and tradition. In fact, guitarists often embrace these quirks, even leveraging the instrument’s uneven resonance to their advantage by composing and performing music that emphasizes the sonority of open strings and keys that resonate well on the instrument, such as A, D, and E major and minor.
Therefore, instead of dwelling on minor perceived imperfections in extended range guitars, including the nine string guitar, it is more fruitful to appreciate the expanded sonic possibilities they offer beyond the limitations of the standard 6-string. The nine string guitar, and other extended range instruments, unlock a wealth of new musical territory, and these advantages far outweigh any negligible tonal nuances in the bass strings. Ultimately, both extended range guitars and the traditional 6-string guitar offer unique and valuable sonic palettes to be explored and enjoyed.
