Confessions of a Flatwound convert...

[Deacon_Blues]

Get some of that door trim insulation foam. They sell it in rolls and you can get just about any thickness or width. Cut it into a section as wide as your bridge, and you can just stick it under your strings whenever you want that muted effect.

I love the sound with some foam under the bridge. Gives a more upright-ish tone.

The tricky thing seems to be how to put/cut the foam so you get an even dampening effect. The G string gets very easily too muted while it can be hard to get the E string enough dampened. I push the foam towards the bridge pickup in the upper end and let only a small part of the foam touch the G string, as close to the bridge as possible. The best would probably be to cut the foam as a wedge or cone...

 

[Sundogue]

I love the sound with some foam under the bridge. Gives a more upright-ish tone.

The tricky thing seems to be how to put/cut the foam so you get an even dampening effect. The G string gets very easily too muted while it can be hard to get the E string enough dampened. I push the foam towards the bridge pickup in the upper end and let only a small part of the foam touch the G string, as close to the bridge as possible. The best would probably be to cut the foam as a wedge or cone...

Yeah, if you get the thicker foam it can be cut easily with a sharp razor knife to any shape you want. You can also cut individual pieces for each string instead of one piece for all of them.

I recall having a built in mute on a MM Stingray I had long ago, where it had individual screws on the bridge and you could simply adjust the foam mute under it for each string.

 

[Knifedge]

I did the flatwound thing... while I can't argue about the sound of them, a bass player with years of seasoning behind him will make just about any setup sound good if he/she wants to. I love my roundwound strings, mostly for reasons not mentioned in this thread. I am a very animated, and a very feel oriented player. I find with roundwounds, I can really, really dig into my instrument when I am possessed to do so. Roundwounds can be a bit bright, I turn my treble down, I use a wireless so I can hear firsthand what my sound would be like with the whole band. I dial up a sound that works for the band as a unit. Wish I could agree more with the flatwound analogy, my own 27 years of experience has brought me the stage I am at by achieving the very workable sound that I have already.

As for bass player influences, I never really had a bass player who influenced me in my playing in any way. May sound impossible, but I assure you it isn't. I do have main musical influences such as Enya, who is focused on the overall richness of the music she composes. It is that aspect that I admire, and it is that aspect I take with me when I am playing. I know the scales etc. and I know very well how to feel what I am playing, so it is sound that I am most concerned with. Mind you, there are some masterful players out there, and they should very well influence the people that are up and coming in the music world, I just never paid attention to them, but I am very aware of their skill.

 

[Sundogue]

...Please..find what works best for you and your band. Steve

Couldn't agree with you more.

Far be it from me to delve into a more in-depth discussion on flatwound strings, in a thread about flatwound strings, started by myself.

 

[phxlbrmpf]

I guess it all depends on the style, I can see flatwounds working very well in bands with many instruments and arrangements with lots of parts where it's up to you to provide a nice fat bottom end. I also feel they tend to work well on Stingray-ish basses if you want a warmer sound that still has a bit of brightness to it.

If there's a style I don't see them working at all, however, it's heavier metal music. I'm not sure how Steve Harris does it (his tone still seems pretty bright) but every time I listen to Soundgarden, I want to rip those flats off of Ben's bass because he's too indistinct in the mix for my tastes and could've made the entire band sound better easily if he used rounds.

My band's music is pretty heavy and I have the feeling that the less top end I have, the bigger the frequency gap between my bass lines and the guitar player's parts becomes which leads to a pretty weak sound overall. Does anyone here use flats in a "power trio"?

 

[Darkstrike]

I'm not sure how Steve Harris does it (his tone still seems pretty bright)

Really, really low action, lots of clank, new Rotos before every show, and a fresh set of Roto flats are bright as heck for a few hours.

 

[dvh]

Does anyone here use flats in a "power trio"?

Me. They sound great, to me and the band.

I think, as has been mentioned in this thread, room acoustics are a big factor as well.

 

[bassist4dalord]

Does anyone here use flats in a "power trio"?

Me!! I use a Squier Affinity Precision and Affinity Jazz V, both strung with Chromes, for a blues-rock band (Zeppelin, Hendrix...) Sounds amazing through a 15"

 

[mav]

I do have main musical influences such as Enya,

I couldn't resist.

 

[Surly]

Really, really low action, lots of clank, new Rotos before every show, and a fresh set of Roto flats are bright as heck for a few hours.

And a soundcrew that won't mix him out.

{cough} Newstead
{cough} Justice

 

[Gab124]

Last two days I read this entire thread. Very fun, and troubling at the same time. About a year ago I tried flats and went back to rounds - all was good until I read this, now I have to try them out again (talkbass costs me so much money). I guess I may not have given them a good go, not sure. I play in a trio and have a good amount of hard 70's rock, but also a fair amount of modern alternative rock with funk sprinkled in here and there. On top of that, I am a growing jazz student lately and even play folk, bluegrass and country with my dad. Fast answer is to have two basses to change, but I really hate that - I like to warm up to one and stay there, currently a jazz with Nordy big splits. As for what kinda of player I am, mostly I lock in the rythum section, but I must throw in fills with a melodic feel, just adds so much to music I think. I guess I try to play old rock with a modern twist and sound, I dunno. I ordered another pair of chromes and the big question is do I use them on this weekends gig with no rehearsal before hand... Still have not made up my mind. It is only and hour and a half show, so could not be too bad if things go wrong.
I know this is long, but one question/point. It seems many here really want to have the best of both worlds, flats fundamentals with rounds guitar like tones. Is this not what DR has tried to do with the Hellborg string? I got a pair, and liked them but they were too light for me, I like a stiffer set really. Hope bringing this point up does not derail anything as I know there a plenty of threads about hellborgs.
Bright and thumpy moments from a maybe flat convert....

 

[markdavid]

I guess it all depends on the style, I can see flatwounds working very well in bands with many instruments and arrangements with lots of parts where it's up to you to provide a nice fat bottom end. I also feel they tend to work well on Stingray-ish basses if you want a warmer sound that still has a bit of brightness to it.

If there's a style I don't see them working at all, however, it's heavier metal music. I'm not sure how Steve Harris does it (his tone still seems pretty bright) but every time I listen to Soundgarden, I want to rip those flats off of Ben's bass because he's too indistinct in the mix for my tastes and could've made the entire band sound better easily if he used rounds.

My band's music is pretty heavy and I have the feeling that the less top end I have, the bigger the frequency gap between my bass lines and the guitar player's parts becomes which leads to a pretty weak sound overall. Does anyone here use flats in a "power trio"?

Really? I love Ben Shepards tone, I think it worked perfectly in the context of Soundgarden and fitted the music perfectly

 

[zachbass02]

My band's music is pretty heavy and I have the feeling that the less top end I have, the bigger the frequency gap between my bass lines and the guitar player's parts becomes which leads to a pretty weak sound overall. Does anyone here use flats in a "power trio"?

Pino in the "JMT" not sure you'd consider that a "power" trio, but trio nontheless. and his tone is amazing with them live on his P bass.

 

[carlo3874]

My Gibson SG with a DiMarizio Model One @ the bridge and a Hipshot Supertone bridge with Thomasik flats is da bomb!

 

[Sundogue]

Last two days I read this entire thread. Very fun, and troubling at the same time. About a year ago I tried flats and went back to rounds - all was good until I read this, now I have to try them out again (talkbass costs me so much money). I guess I may not have given them a good go, not sure. I play in a trio and have a good amount of hard 70's rock, but also a fair amount of modern alternative rock with funk sprinkled in here and there. On top of that, I am a growing jazz student lately and even play folk, bluegrass and country with my dad. Fast answer is to have two basses to change, but I really hate that - I like to warm up to one and stay there, currently a jazz with Nordy big splits. As for what kinda of player I am, mostly I lock in the rythum section, but I must throw in fills with a melodic feel, just adds so much to music I think. I guess I try to play old rock with a modern twist and sound, I dunno. I ordered another pair of chromes and the big question is do I use them on this weekends gig with no rehearsal before hand... Still have not made up my mind. It is only and hour and a half show, so could not be too bad if things go wrong.
I know this is long, but one question/point. It seems many here really want to have the best of both worlds, flats fundamentals with rounds guitar like tones. Is this not what DR has tried to do with the Hellborg string? I got a pair, and liked them but they were too light for me, I like a stiffer set really. Hope bringing this point up does not derail anything as I know there a plenty of threads about hellborgs.
Bright and thumpy moments from a maybe flat convert....

Only way to know for sure is to play them live and see how they work for you.

 

[Coward Of Reali]

I love Ben Shepherds tone! Dont be ripping on it. Much better than Harris.
Flats on a Jazz will get you that sound. I tried for years to get my p-bass with flats to sound like Shepherd but it was a Jazz all the way. My new chromes finally settled down on my Sx jazz and I love that goofy Soundgarden sound I can finally achieve.

 

[rickenbaker]

This is coming from a guy that idolizes John Entwhistle and Geddy Lee. I used tot hink that my string choice was simple, rotosound rounds. Then I heard about flats and decided that i should try them. i did and I have to say I may never have another bass with rounds on them. Except the rick with rounds(can't get away from that sound) I will one day get. While my playing is more along the lines of Geddy and John and the more simple, rythmic stuff, I like the warmer deeper sound more. And I hate to much nasal high-end, I prefer the sweeter highend of the flats.

 

[blowabs]

This is coming from a guy that idolizes John Entwhistle and Geddy Lee. I used tot hink that my string choice was simple, rotosound rounds. Then I heard about flats and decided that i should try them. i did and I have to say I may never have another bass with rounds on them. Except the rick with rounds(can't get away from that sound) I will one day get. While my playing is more along the lines of Geddy and John and the more simple, rythmic stuff, I like the warmer deeper sound more. And I hate to much nasal high-end, I prefer the sweeter highend of the flats.

...and converts keep a comin'...

...now Dog... I have flats on 5 basses (out of 8) including my GL (my gigging bass)....(1 bass has Fender blk nylon tapewounds -9050's i think, nice sounding)

you kn ow i am beginning to like practicing with flats on.

...btw Markusbass...i put the Chromes on my DiMarzio pupped P/J and the bass literally Came Alive.....i had Sadowsky flats on it...(actually now those Sads are on an SX J and it has come alive too from the anemic stock rounds that were on it). Cant wait to bring it to the next rehearsal which wont be for a long time-- I will bring the GL in case the band feels the P/J is over-powering. Thanks guys.

 

[MarkusBass]

NICE!! Glad to hear it!

...and converts keep a comin'...

...now Dog... I have flats on 5 basses (out of 8) including my GL (my gigging bass)....(1 bass has Fender blk nylon tapewounds -9050's i think, nice sounding)

you kn ow i am beginning to like practicing with flats on.

...btw Markusbass...i put the Chromes on my DiMarzio pupped P/J and the bass literally Came Alive.....i had Sadowsky flats on it...(actually now those Sads are on an SX J and it has come alive too from the anemic stock rounds that were on it). Cant wait to bring it to the next rehearsal which wont be for a long time-- I will bring the GL in case the band feels the P/J is over-powering. Thanks guys.

 

[Darkstrike]

IMO, Chromes actually sound great on a Jazz, more than a P, P's need big clanky rawk Rotos, if you're going flat, or Fender/Labella etc. if you're makin' with tha thump.