Hey, thanks @tallboybass !
This was my third trigger release surgery since last June, so it's a familiar territory for me already.
My next full band rehearsal is scheduled for July 12 so I have two and a half weeks to recover.
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Confessions of a flatwound convert pt 2.
- Thread starter john turner
- Start date
Hey, thanks @tallboybass !
This was my third trigger release surgery since last June, so it's a familiar territory for me already.
My next full band rehearsal is scheduled for July 12 so I have two and a half weeks to recover.
I used rounds for as long as I could thinking that they sound good for World music - which they do. Along the way I tooled up with a very powerful bass rig and then had to tame the mids and highs with those rounds. Yet, I started leaning towards a very clean tone that is round and pleasant. I've recently turned back to Flat La Bella 1954's to stay. The rig I've been using is the large fEARful cab with the Fender preamp. The whole rig sounds better now. My bass does not cut through the mix, it pushes through.
I'm done with rounds; here's my story...
For years I played GHS Boomers, but hated the sound of a brand new set and liked them once they were worn in. That changed this spring. I was trying to cop a vintage P-bass tone on my Peavey Rudy Sarzo signature. I could not be done. No amount of EQ wizardry could make that bass sound the way I wanted, not even a pair of flats.
I was convinced that 70s P-bass tone on all the rock records I loved was what I liked the most and the sound I wanted. So, I had to get the right gear for the job. After a lot of internet video listening, I decided on a P-bass, a Duncan SPB-1 pickup, and flats. Flats made every P-bass sound better. It was clear that they were a large part of the equation, and that this same set up with rounds sounded like ass. Flats it was. It was now just a matter of finding an affordable combination of these three features in one bass.
I found it on Craigslist in Toledo, OH: a Steve Harris signature bass for $700. P-bass, SPB-1, and flats: all check! Never thought I'd want a blue bass, but this one changed my mind. Had a BadAss bridge, a nice vintage tint on the neck and fretboard, and a chrome mirror pickguard. Beautiful bass, had to have it. It still had the original Harris signature flats from Rotosound, which sounded amazing. But with my tiny, short fingers I needed a lighter gauge. I got a light gauge set of Jazz Bass 77 strings and all was well. Some slight EQ adjustments and I was set. Now, I'm happy as a clam. This bass is a joy to play, and it nails the tone I had hoped to create. If you keep the action low, and kinda slap at the strings, sure you sound just like Steve Harris. But it you use a more traditional right hand technique it just sounds like a great old P-bass.
That's my journey. RIP roundwounds: 2001-2017
For years I played GHS Boomers, but hated the sound of a brand new set and liked them once they were worn in. That changed this spring. I was trying to cop a vintage P-bass tone on my Peavey Rudy Sarzo signature. I could not be done. No amount of EQ wizardry could make that bass sound the way I wanted, not even a pair of flats.
I was convinced that 70s P-bass tone on all the rock records I loved was what I liked the most and the sound I wanted. So, I had to get the right gear for the job. After a lot of internet video listening, I decided on a P-bass, a Duncan SPB-1 pickup, and flats. Flats made every P-bass sound better. It was clear that they were a large part of the equation, and that this same set up with rounds sounded like ass. Flats it was. It was now just a matter of finding an affordable combination of these three features in one bass.
I found it on Craigslist in Toledo, OH: a Steve Harris signature bass for $700. P-bass, SPB-1, and flats: all check! Never thought I'd want a blue bass, but this one changed my mind. Had a BadAss bridge, a nice vintage tint on the neck and fretboard, and a chrome mirror pickguard. Beautiful bass, had to have it. It still had the original Harris signature flats from Rotosound, which sounded amazing. But with my tiny, short fingers I needed a lighter gauge. I got a light gauge set of Jazz Bass 77 strings and all was well. Some slight EQ adjustments and I was set. Now, I'm happy as a clam. This bass is a joy to play, and it nails the tone I had hoped to create. If you keep the action low, and kinda slap at the strings, sure you sound just like Steve Harris. But it you use a more traditional right hand technique it just sounds like a great old P-bass.
That's my journey. RIP roundwounds: 2001-2017
Indeed,
TI's on my Classic Sterling and fretless Sterling
LaBella 760FL on my Stingray and Classic Sabre
LaBella Low Tension Flats on my G&L JB5 and Fender AVRI Jazz
Chromes on my Rickenbacker 4003s
I wanted to put GHS Precision Flats on my Classic Stingray but they broke when I was installing them.
Welcome home to The sound of Bass!
Many good flats out there to give a whirl so don't stop there. At some point you've got to try TI flats. Pbass heaven. (They have the mid presence of Roto's in some respects, but not the highs.)
The original post , I totally understand, I'm another one late to the game, I had a D Lakin Duck Dunn, signature that I really didn't know what to do with,
Anything I tried , I had another guitar that could probably do it better. So I went down and picked up a set of RS77s , completely reworked the set up , actually had to grind down the bridge saddles , so . After all's done , it's freaking amazing . It's got a voice that's it's own and nothing I have can sound like it. After about 18 hours of playing over 3 weeks the tones are developing more, so I ordered a set of TI extra long so I can string it through the body, we shall see.
Anything I tried , I had another guitar that could probably do it better. So I went down and picked up a set of RS77s , completely reworked the set up , actually had to grind down the bridge saddles , so . After all's done , it's freaking amazing . It's got a voice that's it's own and nothing I have can sound like it. After about 18 hours of playing over 3 weeks the tones are developing more, so I ordered a set of TI extra long so I can string it through the body, we shall see.
I agree that there are so many things involved in creating the sound of bass that to say flats are best is oversimplifying.
What is counterproductive is some generalizing that flats are muddy, dull, lifeless and rounds can cop any flatwound tone while flats are a one trick pony.
I'm all for people using rounds and good for them if they are able to cut through the mix. But I find "cutting through the mix" to be a never ending battle for roundwound users, as evidenced by all the threads on the subject.
The "I need an amp/cab/bass/string/effect that can help me cut through the mix" threads that are so prevalent here on TB are a result (IMO) of using roundwounds.
There is a quality to rounds that make a bass sound more like a guitar or piano. Nothing wrong with that and I happen to love that bass tone too. But, think about it...rounds make a bass sound more like a guitar or piano and then we spend the rest of our time trying to stand out among guitars and piano.
I'm not against roundwounds or the users of them. I'm against the decidedly oversimplification and generalization of flatwound strings because it is counterproductive.
Good on ya mate,, I started playing in 1978 and used flats for a good 15 years playing hard rock and as time went on started experimenting with rounds trying different basses and amps. It wasn't until 2 years a go that I went back to old faithful. Rounds have their place and my place is with my drummer and it was like coming home. Congratulations to ya mate on bringing to the table a wonderful topic for conversationThanks all. I can hardly take any credit for that which was already there. I just put my thoughts out there for people to consider, since so much tone quests seem to be travelling down far more expensive paths (basses, amps, etc.) but seldom did I read much about string selection.
Who knew it would spark such a debate or discussion? I certainly didn't, but it obviously struck a chord (no pun intended
Sorry, no recordings of my cover band...we don't record. However I am putting a blues band together and we will be recording so I'll be sure to post something whenever I have it. Could be a while.
Carry on.
Excellent thread and great insight from Sundogue!
Echoes my sentiments of this summer exactly.
I played exclusively roundwounds for 15 years, loved the singing quality and the melodic playing they allowed for. But a couple of months ago (due to a buzzing problem on my bass) i switched to chromes 105-50 for higher tension to reduce the buzz before i got it fixed. Didn't think much of them at first, but in a band setting at gigs they were fantastic! Improved the music massively, I felt less need to be busy and the fact that they are harder to play takes superfluous notes out of the equation. The tone is beautiful, punchy and tight, and still very bright when played over the bridge pick up.
A few days ago I switched back to rounds, as I'm playing a gig with just a guitarist tomorrow and the initial jam with the flats didnt sound great (they do sound much better when playing with a drummer, as you can synergise in an epic way), so i took them off and put on rotosound 66s.
Horrible horrible horrible! Way too bright, disgustingly bright.
They came off instantly, I thought maybe it's just a SS thing so I put on some nickels. Same result! Straight off.
So I put on some GHS bass boomers, which just a few months ago were my all time favourite bass string. I remember them being a bit darker than other rounds I'd used, and they used to feel so comfortable and nice and fit my playing style perfectly, I knew exactly how to play them to get amazing tones and they fit perfectly in both of the bands I'm in. But now? Too bright! Too many overtones, too much noise. I'm almost embarrassed when I play them now. It's incredible that after 15 years it feels like i can no longer enjoy playing with these strings. Maybe my sonic pallet has just matured with time. I may keep them on for this gig for old times' sake, but after that they are history.
D'addario Chromes are the best best best best best best best.
Echoes my sentiments of this summer exactly.
I played exclusively roundwounds for 15 years, loved the singing quality and the melodic playing they allowed for. But a couple of months ago (due to a buzzing problem on my bass) i switched to chromes 105-50 for higher tension to reduce the buzz before i got it fixed. Didn't think much of them at first, but in a band setting at gigs they were fantastic! Improved the music massively, I felt less need to be busy and the fact that they are harder to play takes superfluous notes out of the equation. The tone is beautiful, punchy and tight, and still very bright when played over the bridge pick up.
A few days ago I switched back to rounds, as I'm playing a gig with just a guitarist tomorrow and the initial jam with the flats didnt sound great (they do sound much better when playing with a drummer, as you can synergise in an epic way), so i took them off and put on rotosound 66s.
Horrible horrible horrible! Way too bright, disgustingly bright.
They came off instantly, I thought maybe it's just a SS thing so I put on some nickels. Same result! Straight off.
So I put on some GHS bass boomers, which just a few months ago were my all time favourite bass string. I remember them being a bit darker than other rounds I'd used, and they used to feel so comfortable and nice and fit my playing style perfectly, I knew exactly how to play them to get amazing tones and they fit perfectly in both of the bands I'm in. But now? Too bright! Too many overtones, too much noise. I'm almost embarrassed when I play them now. It's incredible that after 15 years it feels like i can no longer enjoy playing with these strings. Maybe my sonic pallet has just matured with time. I may keep them on for this gig for old times' sake, but after that they are history.
D'addario Chromes are the best best best best best best best.
I keep hopping back on to rounds from time to time, thinking I should have one bass laying around to give myself the option.
I love Sunbeams and GHS Balanced Nickel, but they always end up coming off.
If I need something brighter, I'll go for TI Flats -> They've honestly got more highs than I use these days, and I end up killing the highs with my tone knob.
These are all my Favorites so far:
La Bella 760FS
Dogal Vintage
Dogal Jaco
Thomastik
La Bella LTF
GHS Precision Flats
Soon I'll order some Pyramids to try.... can't decide on .105 or the heavier .110 set
I love Sunbeams and GHS Balanced Nickel, but they always end up coming off.
If I need something brighter, I'll go for TI Flats -> They've honestly got more highs than I use these days, and I end up killing the highs with my tone knob.
These are all my Favorites so far:
La Bella 760FS
Dogal Vintage
Dogal Jaco
Thomastik
La Bella LTF
GHS Precision Flats
Soon I'll order some Pyramids to try.... can't decide on .105 or the heavier .110 set
I like the La Bellas and TIs too but don't miss the DR Legends. Great flats I think.
ah sorry i misunderstood you. I've actually been enjoying playing the roundwounds again! They're more fun for solo practice. Flatwounds much better with a band. Thinking I'll need a second a bass...
The DR Legends became my favorite flats. They are stiffer than the TIs as you might expect. Closer to the La Bella stiffness. The Legends break in with a very pleasing harmonics and strong even fundamentals across the fretboard. They are the brightest silver color and smoothest of all the flats I've tried. If you're looking for a lot of old school thump the La Bellas will give more of that. But the Legends have enough thump for me and are easier for fast play with the slightly less tension. Hope that helps.
Thanks for your post! I currently have DR legends on my main bass. I dig them but have been wondering if I was missing out by not trying labellas yet. Plenty of people have tried labellas, but I don't hear a lot of talk about the legends. One review I read called them "chocolatey" and I think I agree! Very smooth sound (and feel, these are also probably the best LOOKING strings I've played so far) with a solid solid low end I wish I could get out of every string. My only complaint is their lack of character as far as upper harmonic content goes.
You're welcome and to be precise I was referring to the DTB ( Deep Talking Bass) version of La Bella. I've also tried the low tension La Bellas but preferred the DTB type but the Legends even more.
I'm just starting a round wound string search now for a new band that requires that sound. So I have flats for one band and rounds for the other. Fun, lol.
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