Confessions of a flatwound convert pt 2.

[JSK5String]

Thanks, JSK. I haven't received them yet, and the more time I've had to think about it, I'm not sure if I want them on my J or my Corvette. It'd be nice to dull down that Warwick, but I'm also thinking about trading it for a P. I think I'll throw them on my J as planned. Just not looking forward to giving up Portrait of Tracy. Hopefully it will be worth it in the long run.

You're welcome, and it's funny you should say that. I have been toying with the idea of putting rounds back on my J for a few of the songs we do, but haven't done it yet. I'm in a classic rock cover band and most of the tunes play either were recorded on flats or at least sound like they were. I will tell you this, if you decide to move to a P, a P with flats is just a classic rock thumping machine. It's true that a P is pretty much a one trick pony, but it sure is a good trick.

 

[madbassplaya]

+

=

TONE!

 

[dtsamples]

Just put my chromes on. After some fighting to get the B through the bridge, I'm loving them! Silly me, I thought harmonics were going to be out the window! Just goes to show you I've got a lot to learn. This is the tone i've been after all along! Can't wait for them to hit their sweet spot. Thanks, OP, you may have converted another TB'er!

 

[bassist4dalord]

Just put my chromes on. After some fighting to get the B through the bridge, I'm loving them! Silly me, I thought harmonics were going to be out the window! Just goes to show you I've got a lot to learn. This is the tone i've been after all along! Can't wait for them to hit their sweet spot. Thanks, OP, you may have converted another TB'er!

Just know that that new string zing will go away in about two weeks. They'll still always be brighter than, say, La Bellas, but they do mellow out.

That said, I'm throwin' a new set of Chromes on my Squier Standard Precision V tomorrow morning

 

[JSK5String]

Just put my chromes on. After some fighting to get the B through the bridge, I'm loving them! Silly me, I thought harmonics were going to be out the window! Just goes to show you I've got a lot to learn. This is the tone i've been after all along! Can't wait for them to hit their sweet spot. Thanks, OP, you may have converted another TB'er!

LOL, I had the same issue with my low B on both of my basses. I ended up shaving down the wrap. I thiught it was just me...

 

[engedi1]

IF you think the .125 Chrome B string is tough to get through a bridge, try the .136 TI B string!

 

[madbassplaya]

used the Chromes on my passive Jazz bass today. super THICK tone.

 

[engedi1]

OK, As an expiriment I took the TI flats off of my Sadowsky 5 string and put on Daddarios xl's which had come on my fretless bass when I got it set up. I used them for a couple of week which was good since I was recording some stuff that needed slap bass. However, last nigth, I put the TI's back on and I was like "man! that sounds like a bass again!" There is just something about those strings that just pulls me back.

(FYI, I have been using the TI jazz rounds on my fretless G&L l2500 and they sound AMAZING on that bass, almost like an upright with more sustain and brighter)

After using the TI;s for years, it was fun to have nickel rounds on for a while, but I just couldn't find my sound with those strings. Maybe Sunbeams would be better rounds as I have never really loved the XL's on a fretted bass, but the TI's flats are the freaking bomb!

 

[iiipopes]

The name of this thread is Confessions of a Round Wound Convert. Hi, my avatar name is iiipopes, and I am a round wound convert to flats. The new reformulated Fender flats 9050CL set, 45-60-80-105, is the best flats set I have ever played in over 35 years of playing bass. They have tone, they have growl, they have sustain, they have consistency from string to string and up and down the neck. They're the best things that have happened to bass since the invention of the original P-bass.

I have played them all since 1975. I would purchase a set, try them for a week, and go back to rounds. They are reasonably priced as well.

 

[bassist4dalord]

Well, it's official! I'm now a Flatwound Convert! I have D'Addario Chromes on my Squier Standard Precision Bass V (with Jazz electronics), my Squier Affinity Precision, and my Fender BG-31 acoustic.

That, and I have enough D'Addario Player's Points to send in the string packaging for an awesome stool!


Love my Chromes

 

[CGramazio]

This is just a fantastic thread and prompted me to finally jump on TalkBass, a wonderful place to discuss all things bass (and occassionally tuba, I've noticed).

What a wide array of knowledge and experiences as related to flats vs. rounds. I find myself back in the music world after a brief hiatus for a couple years and this topic really speaks to me.

I switched to flats back in 2000 and loved them. I'm a Pyramid Gold advocate, greatest strings I've ever used. I just recently ordered a custom set, gauges - .43, .60, .80, .105. I also ordered a .110 to perhaps give that a whirl instead of the .105. In the meantime I strung my '77 P-bass with an old set I still had . . . I used to hang onto all my old sets, but around the 10 year mark of playing that got crazy. I've now been playing for 25 years and luckily I hung onto the Pyramids.

I used the Pyramids on some recordings and here's a link to some samples for those that are interested in hearing what they might sound like in a 3 piece rock setting - [Invalid or Expired Link Removed]

At the time they really worked well to fill out the sound of the band and it wasn't until I read through this thread that I began to remember why I loved them so much. I had switched back to rounds years later when I moved from an Ernie Ball to a Rick, but I always felt something was missing. It's as if the flats have that true sound.

I was lucky enough to have Bass Player Mag feature the second song in the link as an MP3 of the Month way back in June of 2001, they mention the Pyramid Gold Flats . . . Man was I stoked, I'll share if I may . . .

As the OP has stated throughout this thread, the flats really create a wonderful unity regarding the band sound. They set themselves apart while blending in perfectly. For those of you not worried about dropping a little extra I really recommend the Pyramid Golds, like no other flats I've ever played.

I am once again part of the flatwound revolution.

 

[engedi1]

Wow CGramazio. Great clip, and really great tone, and a real honor to be feature in BP mag. I like the combination of a bright aggressive bass with the flats. I find that fill on the D and G string sound really great with flats. Those fills might sound obnoxious with rounds, but with the Pyramids they sound really smooth and musical. Have you ever used TI Flats or chromes? can you compare the pyramids wiith those strings?

 

[CGramazio]

Engedi1 thank you so much for the kind words, really appreciated. I was flattened (no pun intended) when I got that bit in BP, it was always a dream. Truly an honor.

I was really happy when we recorded that song that I got, as you said, such a "smooth and musical" tone. It really was a validation for those strings. The initial thought was that in the band as it was the flats may not cut it, but they really are something.

I been reading a lot about TI flats, but I can say that I haven't tried those for a comparison. I've used Ernie Ball, Fender . . . and a few others I can't recall right now, but the Pyramids are really just a different animal. I'm going to have to get a set of TI's to make an educated evaluation. I will say this, it will take something tremendous to swing me from the Pyramids.

When I first started using them the only place you could get them was the Tone Man in, I think it was Chatsworth, CA. I had to drive from Hollywood, where I was living at the time, and buy them from the guy . . . right out of his house.

I did a lot of research on what might be the best flats for me and I give a lot of credit to Bass Player Mag's string issue they had some years ago (must have been before 2000). That's where I first learned of them (Pyramids). I don't know if they've done a string issue since, but they should again. Anyway, the musicality of the strings are quite unique. When you pick them up you notice the difference. As the article about them says, "they just sag." I'm sure they're an acquired taste, but for someone looking for something different (as I was at the time) they're worth the exploration . . . although pricey. I read nothing but great stuff on here about the TI's and the Chromes so I should investigate . . . but again, they'd have to be mind blowing for me to change.

 

[engedi1]

Well, TI flats are also quite flexible, more so than any other flatwound that I have ever played. I have never played Pyramids but have always been curious about them, as I would like really flexible flats like the TI's, but maybe with a bit more thump. Ti's have lot's of sustain and a really complex midrange that makes them very unique. I just recorded 5 tracks on a contemporary christian album. I'll post a link when I get some Mp3's from the producer next week.

 

[CGramazio]

Well, TI flats are also quite flexible, more so than any other flatwound that I have ever played. I have never played Pyramids but have always been curious about them, as I would like really flexible flats like the TI's, but maybe with a bit more thump. Ti's have lot's of sustain and a really complex midrange that makes them very unique. I just recorded 5 tracks on a contemporary christian album. I'll post a link when I get some Mp3's from the producer next week.

I would really love to hear those tracks, please do post.

The Pyramids are incredibly flexible, I believe it comes through in the tone as well. The TI's sound really intriguing, I'm really going to have to check them out. Perhaps I'll string my Rick with them. That could be a sweet tone.

 

[JSK5String]

This is just a fantastic thread and prompted me to finally jump on TalkBass, a wonderful place to discuss all things bass (and occassionally tuba, I've noticed).

What a wide array of knowledge and experiences as related to flats vs. rounds. I find myself back in the music world after a brief hiatus for a couple years and this topic really speaks to me.

I switched to flats back in 2000 and loved them. I'm a Pyramid Gold advocate, greatest strings I've ever used. I just recently ordered a custom set, gauges - .43, .60, .80, .105. I also ordered a .110 to perhaps give that a whirl instead of the .105. In the meantime I strung my '77 P-bass with an old set I still had . . . I used to hang onto all my old sets, but around the 10 year mark of playing that got crazy. I've now been playing for 25 years and luckily I hung onto the Pyramids.

I used the Pyramids on some recordings and here's a link to some samples for those that are interested in hearing what they might sound like in a 3 piece rock setting - [Invalid or Expired Link Removed]

At the time they really worked well to fill out the sound of the band and it wasn't until I read through this thread that I began to remember why I loved them so much. I had switched back to rounds years later when I moved from an Ernie Ball to a Rick, but I always felt something was missing. It's as if the flats have that true sound.

I was lucky enough to have Bass Player Mag feature the second song in the link as an MP3 of the Month way back in June of 2001, they mention the Pyramid Gold Flats . . . Man was I stoked, I'll share if I may . . .

As the OP has stated throughout this thread, the flats really create a wonderful unity regarding the band sound. They set themselves apart while blending in perfectly. For those of you not worried about dropping a little extra I really recommend the Pyramid Golds, like no other flats I've ever played.

I am once again part of the flatwound revolution.

LOVE your sound and the sound of your band! Well done brother! Form the short clips on the site I'd say you guys have an alomst Foo Fighters' type sound going on. I think I might have to pick up your album. Maybe I can get it to go viral out here in Denver...

 

[CGramazio]

Thanks JSK5String I appreciate it. From a brother bass player, there's no better compliment. Hell if you want the record I believe I have a box of them lying around, I could send you one. Actually we ended up putting out 3 records on our own independent label, Land Speed Records, I could send you them all . . . LOL! There are boxes everywhere, ha.

That first record with the song transcribed from BP Mag was the one I used the flats on, after that I switched to a Rick and went with RotoSound Roundwounds . . . wish I had kept going with the flats at the time, not sure why I switched back . . . hindsight, it gets you every time. I really found my sound with the Pyramid flats, I had been searching for some time back then.

If you dug those tunes check out this link - http://www.youtube.com/watch?v=OC9FCNHWFaM . A guy we knew at the time filmed a live performance and fairly successfully synced up the record to it. It's pretty cool. The recorded bass tracks on this are with a Rickenbacker 4003 strung with the RotoSounds. I wish I had recorded with the Pyramids though . . . would have been an epic tone.

The group has been disbanded for some time, we changed the name to Big Stone City in the mid 2000's and there's a myspace page that still exists. All the uncredited bass work on the page is me . . . you know how those not-so-amicable splits work . . . I'm currently working on songs for a new solo project out here in Arizona, should hopefully have some stuff recorded this year. I'll be back with the Pyramid flats on my '77 P-bass and now I'll probably string the Rick with TI's to see how it sounds thanks to engedi1's recommendation. I'm going to have to get a new amp set-up though, so I know it's off topic, as was a lot of this post, but if anyone has any ideas on a good direction to head amplification wise, I'm all ears. I hear great things about the Mesa Walkabout Scout. I definitely want to keep that thick flatwound tone burning. Gotta be a tube amp as well.

This forum is great and I'm enjoying jumping back into the fray . . . again thank you for the kind words.

 

[engedi1]

Cgramazio: Two questions for you:
1. What kind of bass did you record the flupejac stuff with-the 77 P?
2. Where can you find Pyramid strings now?

 

[ToneMonkey]

I saw the Lark's Tongues tour and I can attest that Wetton and Bruford were all that and a bag of chips.

BTW, I'm seriously thinking of trying a set of chromes on my MIM J. I'm lusting after more fundamental, especially on the low E. Given the rest of my rig (T-Funk, Acme), there's just no reason I shouldn't have have a thicker bolder tone going. I too am starting to believe that it's my string choice (Roto Swing Bass).

Great thread!

I've been trying to get a powerful bass sound (like my hero John Wetton, but I won't bore you with that aside from saying he and Bruford were described as a flying brick wall backline by Robert Fripp)

 

[CGramazio]

Cgramazio: Two questions for you:
1. What kind of bass did you record the flupejac stuff with-the 77 P?
2. Where can you find Pyramid strings now?

Hi engedi1, well they were very different recording sessions (different studios, producers, etc . . .), but here's what I used:

The Like It Is . . . record (which included "One to Go On") was recorded with the 1993 Ernie Ball MusicMan Stingray strung with the Pyramid Golds.

The Who's Your Daddy record was recorded with two different Rickenbacker 4003's (1 a 1999 the other a 2000). They were both strung with RotoSound Roundwounds (Swing Bass I believe).

The Sometimes the Bull Wins record, which are the songs from the YouTube performance I linked were also recorded with the 2000 Rickenbacker 4003 with RotoSound Roundwouds once again.

I did record one song with the '77 P-Bass, a song called "Way Down" that you can find on the Big Stone City MySpace page.

As I mentioned the recording sessions were very different, really in regards to the studios. I believe that can make a significant difference.

Like It Is . . . We recorded at Swinghouse Studios in Hollywood with C.J. Buscaglia (Jesus Quisp from Green Jelly) manning the engineering and producing. Who's Your Daddy? and Sometimes the Bull Wins were recorded at Rollercoaster Recording in Burbank with David Newton (The Mighty Lemon Drops) handling engineering and co-producing with us. Finally the last song I mentioned, "Way Down", was done at a different more high end studio with Dan Lavery (Tonic) producing. So I think all the different touches, insights and approaches add in greatly to the overall sound.

I wish I had stayed with Pyramid flats for all these recordings (would really like to know how it would have sounded), but ultimately, as I've always felt, a lot of the sound comes from your hands and how you approach it. I play very aggressively and up by the neck and it has a distinct sound. I'd like to believe over all my years of playing I've developed my own style that comes through in all the recordings, but wouldn't we all like to believe that . . . LOL!

In regards to the Pyramid Golds, you can find them at Just Strings, but I went right to the company directly and contacted them through their website . . . http://www.pyramid-saiten.de/ . They responded within 24 hours and I ordered a custom set (I like a little heavier G string than what comes with the standard set). They were very nice. I sent a check ahead and I should get my new set in a couple weeks (I'm in no rush). As I mentioned earlier I originally got my first set back in, now I believe it might have been 1999, from the Tone Man in Cali. If your near Chatsworth that might be worth checking out. Otherwise JustStrings is probably the best bet.

Thanks for asking, sorry to be so long winded.