5-string decision - Sadowsky Flats or TI Jazz Flats (or something else)?

[KeiBau]

Originally Posted by phat5

Hey KB, where in Iowa are you? I'm at Parkview Church in Iowa City.

Steve

I see you're from the Iowa City area, probably near Lake Macbride (Solon). Well, we're in Clear Lake, and my wife is in your town this afternoon visiting a niece at the U of I.

[DavePlaysBass]

As for a difference in tone at 3/4 volume, you will drain some highes relative to full on.

I have tried flats in church a few different times.

First try was a G&L L-2500 with TIs. I had problems getting cut. I loved the setup in a classic rock environment, but the one time I tried them in a small room I ended up being overly boomy and still felt like I could not hear myself. That room has a really high ceiling, no depth, and lots of carpet. My lack of EQ optimization along with the room could be partly to blame. But rounds were easier to get a cutting tone without blowing everyone away.

Second try was a alder / rosewood jazz bass with EMGs and TIs. This was a good mix. It was a mellowed out Xmas thing and the single coil clarity and TIs are my best flat experience. I also have used this combination with success in more rockin' arrangements. The clarity is a little sacrified, but they have a very warm growl that gave great support. I think TI Jazz flats were made for Jazz basses.

Third try was some really fat Ernie Ball Group IIs (50-70-85-105) on a alder / rosewood precision. In the large main sancutary things are really muddy and boomy to start with. In a dense mix the P / flats combinatation was really bad. By the time I turned up to where I was heard, the boom and mud was detracting from the band. Anything other than roots were just not getting across. I just threw some medium ProSteels (50-70-85-105) on this bass to see if that helps out. The ProSteels have a slight mid scooped thing that makes then sound smoother than most steels. And the highes are not overly bright. A little tone control and these may be the flatwound in my head sound I am looking for (which probably is not as thuddy as traditional flatwound sound). I will find out this week if I am on course. I miss the smooth flatwound feel, but I need some definition and clarity.

I have heard many people say put flats on a P and rounds on a J. But I feel I may be heading the opposite direction. Go figure.

Dave

[phat5]

Originally Posted by KeiBau

I see you're from the Iowa City area, probably near Lake Macbride (Solon). Well, we're in Clear Lake, and my wife is in your town this afternoon visiting a niece at the U of I.

Life is good in Solon bro!

Steve

[phat5]

Originally Posted by MAJOR METAL

Give the Sadowsky's a try !

Major Metal, care to further comment on the Sad flats? Do you think they are less stiffer/tense than the DA Chromes?

Thanks, Steve

[fourstringbliss]

Originally Posted by phat5

A total set up would be needed when changing to flats...check your string height at the nut and go from there. I had used Dan Erlwines (spg?) specs when setting up a bass for flats; the fret board was nearly flat! Although I would also emit "clank" noises when digging in, due to lack of volume in the monitors. I guess it just depends on who's mixing; it's varied with 4 different sound guys.

Hey KB, where in Iowa are you? I'm at Parkview Church in Iowa City.

Steve

I do think I'm going to give my bass a complete setup today (though I'm nervous to even attempt messing with the two trussrods). However...

MAN did it sound good today!! Here's my setup:

Bass/treble/mids half up, mid frequency selector on upper mids, neck pickup. I'm using the Bassman setting on my Zoom B2.1U. A lighter than normal touch on the strings.

What I get is a tone that has eluded me since I started playing. It's crisp without being bright, bassy without being boomy, and cuts like a knife! Our sound guy sure knows how to highlight the right things on getting the bass mix right!

I found that using a lighter touch eliminated a lot of the clank, and the buzz I'm still working on. It's just when I remove my finger fom a fret the still vibrating string buzzes against the fret.