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Confessions of a flatwound convert pt 2.

#221
I've used LaBellas and Pyramids on several basses, from several string sets in multiple gauges. Am 99% sure it is not operator error (the twisting thing) but I have done some stupid things in my life. :-)

Others have observed the same. Some even claim to be able to hear it in some of McCartney's recordings.

GHS (no affiliation) claims to have a way to reduce the effect. It seems to work though I can still hear a slight difference even in the GHS (but nothing like in the Pyramids or LaBellas).

I had a set of Jamerson 1954's a few years ago and did not have the issue with those. I suspect the reason is that the A string was massive and closer in size to the E string vs the lighter sets.
 
#222
TI Flats do not seem to have this problem. Of course their set gets lighter and lighter in tension as you move from G to E. Their tone might not be for everybody, especially when new. However, if you can acquire an OLD set, at least one year old, and raise up your action to medium or higher, which is no problem due to their light gauge and high flexibility, you would be surprised at the old school thump they can provide. I played an Americana gig recently using my G&L bass with 2 year old TI flats, and a VERY traditional tone was desired, and I couldn't believe how these strings delivered. The problem is that they are of such high quality, that they maintain their new tone for months and months.
I also have used chromes and didn't notice if the E string sounded too much different from the rest.
 
#223
Right about the TI's but I prefer higher tension and warmer tone.

To me the TI's are fairly bright for nickel flats but they are great if you like that sound. I have a set on my AEB and like them in that context.

Also agree on the Daddario Chromes. Same seems to be true for the Ernie Balls. They are great for a bright tone and I use them on a a few basses.

Seems to be no problem making the brighter flats sound "even" but the warmer ones tend to be quite uneven to my ear.

I keep thinking that a lot of people must like what I consider unevenness. Otherwise, why would the makers keep producing them that way.
 
#224
engedi1 said:
I love TI flats on my G&L l2500 and I love rounds on my Sadowsky. Between these two setups there isn't much I can't do (I have an upright for that "other" stuff) The point of this thread is a revelation that Flats are in fact, useful, after years of ignoring them. I don't think Sundogue, or most people, would suggest that you NEVER need rounds. Both serve their purpose, and both should be in the arsenal of any serious bass player.
Click to expand...

I am really astounded that this thread is still around! Really? LOL.

Right now I'm using rounds. :eek: I'm playing in a three piece progressive blues/rock band using a 6 string with a lot of chordal and solo work along with effects, so I really need the bright zingy sound of rounds for what I'm currently doing.

I also have to agree with engedi1 that not once have I ever said rounds don't have a place. And people and their tastes change. They both serve a purpose and back when I first posted the original thread I was in a classic rock band and using flats was a revelation. Still are for me. So much so that even though I'm using rounds I find myself still wanting to try flats on my 6 string.

I kind of miss the flats, and while they could work for some of the stuff I play now, they won't for most of it. One thing I will say though...I'm still convinced that no matter how I EQ my bass or amp I cannot get the rounds to sound like flats!!! Flats just have their own thing happening that only flats can do.
 
#225
The favor will eventually swing back towards rounds. The supposed flats craze is a pure manifestation of bassists on the field, not marketing gurus or focus groups...one of the many reasons you can barely find a set of flats at GC let alone your local mom and pop. It's unfortunate that TI seems to be the only company that was able to benefit from this while providing a unique and VERY useful product. I play TI almost exclusively and when I don't, it's Sunbeams. I have seen the benefits of flats and am sticking to them. But it took me a lot of trial and error. I would personally string my bass with just about ANY string aside from Chromes if made to choose. It still amazes me how many tout them as the best thing going given all the options. I'm not the richest guy either but I don't slack on strings and to me and my basses, Chromes and their ugly sister Halfwounds are the epitome of what is WRONG with a flat and why there is no market for them. Just as rounds have come a long way since Roto's, so have flats. It's just not too many explore well beyond Chromes and it's a damn shame.
 
#227
I have to say, after trying so many Flats...
- I thought I love LaBella's... not
- I thought I loved TI's... not

BUT, I did love aspects of both, and ended up with Sadowsky 40-100's.
- lower tension than LaBella's, higher than TI's
- Brighter than LaBella's, not as bright as TI's
- NOTHING like Chromes ;)
 
#228
tlr1293 said:
I have to say, after trying so many Flats...
- I thought I love LaBella's... not
- I thought I loved TI's... not

BUT, I did love aspects of both, and ended up with Sadowsky 40-100's.
- lower tension than LaBella's, higher than TI's
- Brighter than LaBella's, not as bright as TI's
- NOTHING like Chromes ;)
Click to expand...

Me, too. those Black Labels are nothing short of genius.
 
#229
After Trying every pedell known to man, I have come up with my Sound
EB flats on my G&L L2500 with coil tapping played through a GenxBenz 6.0 with 2 12T cabs.
No effects, my amp is set mostly flat and that gives me the sound I'm looking for.
Now when I started playing I used a dbl bottom Kustom 250 so I've been chasing that sound ever since, but I'm old school. This setup works the best for me and as always it is just MVHO.
Thanks
 
#230
I switched to flats only on all my basses 5 years or so ago and won't go back to rounds. Using chromes I get all the tone I need plus they are bright enough to not need rounds. I cant stand the feel of rounds under my fingers now or that clanking metallic sound of them. Flats for me.
 
#232
:cool:

First let me say I love flats, TIJ344's changed my life.
They are my sound.
But that said, there is an X-factor when it come to basses.
I can't explain it, some basses just sound better with certian
strings.
I have two Jazz basses, one loves flats, the other just sounds better with DR Sunbeams. I've put both strings on both basses
and there is some unexplained mojo working.
It could be the wood? pickups? weight of bass?
 
#233
Mojo-Man said:
:cool:

First let me say I love flats, TIJ344's changed my life.
They are my sound.
But that said, there is an X-factor when it come to basses.
I can't explain it, some basses just sound better with certian
strings.
I have two Jazz basses, one loves flats, the other just sounds better with DR Sunbeams. I've put both strings on both basses
and there is some unexplained mojo working.
It could be the wood? pickups? weight of bass?
Click to expand...

Are you finding this more with the TI's? If this is the case then I agree. TI's sound great on some basses and not so great on other's. I had a big love/hate with them for the first two years I had my first set and found out it was the basses more than the strings. The set on my 83' SQ P bass has been on at least 5 basses and they sound the best on this P bass...don't know why.
 
#235
petrus61 said:
The favor will eventually swing back towards rounds. The supposed flats craze is a pure manifestation of bassists on the field, not marketing gurus or focus groups...one of the many reasons you can barely find a set of flats at GC let alone your local mom and pop. It's unfortunate that TI seems to be the only company that was able to benefit from this while providing a unique and VERY useful product. I play TI almost exclusively and when I don't, it's Sunbeams. I have seen the benefits of flats and am sticking to them. But it took me a lot of trial and error. I would personally string my bass with just about ANY string aside from Chromes if made to choose. It still amazes me how many tout them as the best thing going given all the options. I'm not the richest guy either but I don't slack on strings and to me and my basses, Chromes and their ugly sister Halfwounds are the epitome of what is WRONG with a flat and why there is no market for them. Just as rounds have come a long way since Roto's, so have flats. It's just not too many explore well beyond Chromes and it's a damn shame.
Click to expand...

Interesting observation. To each his own, I guess. I put Chromes on my 5-string P Bass and never looked back. Combined with my rig (VTB Deluxe into a LM II), I got the sound I was hearing in my head all those years and my classic rock cover band sounds HUGE.

So while you may consider it a damn shame, I consider it to be just fine. Another added benefit, I've been completely G.A.S. free since I switched to Chromes, not so much as even a new tuner. Two years of sobriety from G.A.S. And counting...
 
#236
I put an old set of Chromes on my Jazz bass last night. I've been on the fence with flats for a while. Last night I chose to embrace the tone for all it was worth and rolled my tone off, both pickups up. I then rolled off the bass on my VT-Bass from the "Flat" setting to get rid of the muddiness. Rolled back the tone pot a little bit and it sounded like I had rounds on the bass, but no finger noise. The bonus, a thick THUD to each note.

Pure. Tone. Bliss.

For the last set, I decided to change it up and pulled out another bass. My P-Bass with Hi-Beams on it could NOT compete with the Jazz bass with flats. It sounded louder and had all the sizzle, but in the mix it was lost and lifeless. If this keeps up, I'll be converted.
 
#239
tlr1293 said:
I have to say, after trying so many Flats...
- I thought I love LaBella's... not
- I thought I loved TI's... not

BUT, I did love aspects of both, and ended up with Sadowsky 40-100's.
- lower tension than LaBella's, higher than TI's
- Brighter than LaBella's, not as bright as TI's
- NOTHING like Chromes ;)
Click to expand...

Sadowsky Black Labels are made to Roger's specs by LaBella...just so you know.

They are a very good string....I damaged two sets in a row by dumping my bass into 1) a stage and 2) the edge of a table and they probably even saved the frets by the way they absorbed the hit and caved.

I find them soft on a 34" scale, particularly the B. They are a rich sound though...the D and G stay real bright for a couple of weeks and then settle in. The B is tapered...one of the few.
 

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