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Confessions of a Flatwound convert...
- Thread starter Sundogue
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I was at a local music shop and picked up a Highway 1 P-Bass strung with flats. Not sure exactly what kind, I remember a blueish-purple color to the thread, but OMG I am so in love. Not something I would play all the time, but I could see myself getting quite comfortable with some flats on one of my P-Basses.
I love the Chromes on my Sadowsky, but maybe I'll try the Pyramid Golds on my Fender 62 RI Jazz. How would you describe the character of the PGs in comparison to the Chromes?
Much smoother, slippery to the touch, lower tension than the Chromes. More of a mellow vintage sound, very thumpy, not bright and piano-like like the Chromes, but they don't sound dull either. They sound good straight away and don't take much breaking in. They are expensive, but worth it since they'll last a long time!
I might put the Chromes back on to do another comparison. For a grindy rock sound, playing with a pick or using overdrive I would go for the Chromes, but for a vintage vibe I'd go for the Pyramids every time.
I might put the Chromes back on to do another comparison. For a grindy rock sound, playing with a pick or using overdrive I would go for the Chromes, but for a vintage vibe I'd go for the Pyramids every time.
i'm running Pyramid Golds on my 3 main basses, a P, a Stingray clone & a Jazz 5, & have found my personal Holy Grail of tone using the Pyramids.
it's ALL about the tone
it's ALL about the tone
Bought myself a set of Ernie Ball flats 105 and fitted them to the P bass, I must admit that after an hour or so I wasn't convinced but thought I would gig them and take the J bass along (fitted with Rounds) as a safety net.
It was quite clear during sound check that something was going on, what a different playing experience! After 3-4 tracks I was cursing the last ten years, I was finally 'under' the guitars and controlling the feel of the band much better. The Jazz most definitely wasn't required.
I'd always thought that rhythmically I sounded better playing alone than with a band, and sometimes with rock stuff I've been along for the ride, not really influencing how the band plays as a whole. I've now gone back to my original style of playing, with a pick and plenty of palm muting, lots of control over the feel.
Converting to flats won't suit every style, but they work well for me.
Now us rock bass players aren't stepping on the guitarists frequencies, any chance that we could plant some threads elsewhere telling guitar players that low end sounds nice when practicing alone but it causes chaos when they play with a band?
It was quite clear during sound check that something was going on, what a different playing experience! After 3-4 tracks I was cursing the last ten years, I was finally 'under' the guitars and controlling the feel of the band much better. The Jazz most definitely wasn't required.
I'd always thought that rhythmically I sounded better playing alone than with a band, and sometimes with rock stuff I've been along for the ride, not really influencing how the band plays as a whole. I've now gone back to my original style of playing, with a pick and plenty of palm muting, lots of control over the feel.
Converting to flats won't suit every style, but they work well for me.
Now us rock bass players aren't stepping on the guitarists frequencies, any chance that we could plant some threads elsewhere telling guitar players that low end sounds nice when practicing alone but it causes chaos when they play with a band?
I have Chromes on my Sadowsky 5 (basically an active Jazz). It's awesome. I can get think low-end thunk, or a bright, cutting midrangey growly sound, all with a nice strong fundamental. I can even get a decent slap sound (although I almost never slap these days).
I briefly had TI flats on my MIA 62 RI Jazz. They sounded great recorded, but not enough highs for me live, and the low tension felt funny.
I briefly had TI flats on my MIA 62 RI Jazz. They sounded great recorded, but not enough highs for me live, and the low tension felt funny.
I have them (Chromes) on my Geddy Lee. The only thing i did to it was shield it, (it didnt really get rid of all of the splitting Jazz bass pup hum tho). The sound is deep with a lil brightness, esp. if you are near the bridge. My drummer loves it. I allows the sound to be more of the R&R and Soul of the 60's, 70's and 80's. [yes... a lil slap is OK with these Chromes too!]
Hey guy's try a set of Sadowsky flat's their great i use them on both my 885's.Sundouge you pretty much nailed it. good luck Brotherman.
Tried Sad's on my PJ with DiM 126 pups.... Not that happy with them.....not as much "umph" as the Chromes...JMO.
I have chromes (med) on my 62 RI Jazz and I love them....been on for about 4 years now. I actually like the higher tension...seems to give the bass more punch...I also have high action which I like.....and I've never found them sticky.
+1! .....but... I have low action on the GL. (starting to like the 'deep talkin' La Bellas, on my Sq VM J FL)
I loved them on a Jazz, it was the only string type I ever used on one, flats and nylon tape.
Bump. I'm considering buying a 4-string set of Chromes. I have had two sets on my Jazz V, and two sets on my Precision. Right now, I have a Chrome B-string sitting back home, so I think I'll buy the .045-gauge 4-string set and combine it with the B for my main bass, a Squier Affinity Jazz V. I'll be sure to post how I feel about them. I love the feel and tone but I'm currently battling an addiction to the roundwound zing. I'l give Chromes another try (third time's the charm, right?) and tell you guys what I think!
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