Thanks brother. Those are the ones I was looking at in the store. Im gonna slap em on soon.
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Confessions of a Flatwound convert...
- Thread starter Sundogue
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Thanks brother. Those are the ones I was looking at in the store. Im gonna slap em on soon.
Cool. Keep in mind that the tone you seek may not be found in playing alone, but rather with the whole band. That, to me, is where the Chromes really punch through. To this day, playing alone on Chromes is weird, though I'm becoming used to the sound by myself.
It's when I'm playing with the whole band that I'm always smiling about my sound because of the Chromes. Nice thing is, unlike rounds, after a year of playing on the same set of Chromes they still sound tremendous. I'd have gone through at least ten sets of rounds in that time and never had the sound I'm digging now.
I've used the DR's before. They are nice if you like an ultra deep, ultra thumpy tone. They are very "non-brite" but are super smooth. They are so smooth you can't even see the space between the windings. I did have problems with them breaking on me though but both times DR sent me replacements with no questions asked.
I ultimately moved on to Chromes (too bright) and then to La Bellas (just right for me) because the DR's were too dull sounding which is funny given how lively and bright their rounds are. Unless something better comes out, I'm a La Bella man on my P.
In terms of tension, DR strings are pretty tight. I'd say they're about equal to La Bella, they are definitely not a floppy as TI's and I haven't tried GHS to know what they're like.
I played with flats for around two years. Always the Rotosound RS77's or SH77's. Sounded great for sure! After the two years, I realized that I missed the overtones that come with rounds.
So, its back to rounds for me!
I go through phases though. I'll be back on flats eventually I'm sure.
So, its back to rounds for me!
I go through phases though. I'll be back on flats eventually I'm sure.
That's what I did, MIA Jazz V with Chromes and MIA Jazz with rounds.This is why one should have at least two basses, one with flats and one with rounds!
This is why one should have at least two basses, one with flats and one with rounds!
+1
P wif Flats
J wif Rounds
When it comes to slapping, I much prefer the way flats sound in a band setting to the way rounds sound with a band. I prefer rounds for slap tones outside of bands though. Wierd thing slapping is...
Edit: This thread is also giving me string GAS.
Do strings count as GASing?
Edit: This thread is also giving me string GAS.
Do strings count as GASing?
That's me. Really dig flats on a P bass. Drive me crazy on a jazz, no matter how many times I try them.
This is all quite interesting to me. I've lately been wondering if I shouldn't make the jump to some Thomastik Infeld flats, myself.
When it comes to slapping, I much prefer the way flats sound in a band setting to the way rounds sound with a band. I prefer rounds for slap tones outside of bands though. Wierd thing slapping is...
Edit: This thread is also giving me string GAS.
Everything is subjective of course. I don't like the sound of slapped flats in any context, but I bet what you like is the that since there is stronger fundamental with flats, you don't disappear as much in a band mix when you start slapping. Also, the highs on flats tend to be hi-mid, which probably cut through better in a band, but sound a little honky by yourself
If you are coming from the world or rounds be prepared for some time to "deprogram" yourself. Flats aren't for everyone obviously, but there is a stigma attached to flats that really are no longer deserved.
There are a lot of flats to choose from and one does not need to buy into the myth that flats are dull or lifeless, or that you can get rounds to sound just like flats by muting and/or turning all your highs off (which is the same thing as saying you are buying into the myth that flats are dull and lifeless).
It is very much a mindset. You have to ask yourself what your tonal goals are and in what context will you be using flats? For me, when playing alone I still feel like there is something missing (having come from 30 years of using rounds). Of course there is, but what is now there is something not readily apparent when playing by yourself.
In the context of a band situation, flats can be the very thing that makes you stand out and sit in the mix...at the same time. Hard to explain, but if you are the type of bass player that likes to solo then flats may not be for you (but maybe still, hard to say), but if you want to make the band sound cohesive and turn the rhythm section into one solid powerful force that drives the music with much needed punch, then flats may just do that for you.
It is all a matter of personal taste and I think of flats as an acquired taste. And it is a flavor that one may not like in one dish yet will be the perfect compliment in another. In the band I am in, we play classic hard rock. I wanted to deliver this knock out blow to every note I played...just put the hammer down and drive the music with a force that only rock music has. After experimenting with various flats, I found TI's to sit very well, but they sat back a bit too much for my taste.
I found Chromes to be the best mix of fundamental flat pounding yet with a definition that not only hammered, but also cut in such a distinct way that depending on how I EQ'd I could still get a bit of clank into the sound. It almost appeared roundwoundish but still maintaining that solid flat fundamental thump.
I've kept the same Chromes on my bass for over a year now (with a brief tryout of rounds again on and off) and they sound as bright and punchy as the day I put them on. Really? Is it possible to not have to change strings once a month? I was at rehearsal the other night and I looked down at my strings and it hit me that my sound is still so damned good and I haven't had to buy a set of strings in over a year!
Whatever strings you choose, just know it's all an experimental crapshoot and only you can determine if TI's or any flatwound can do what you are looking to do with your sound.
Best of luck and report back even if you find you don't like them.
My experience with flats is that, except for my P bass, I never like them on stage, but they do sound good out front in the mix. For pocket playing, I think flats can work wonders, making it a bit easier for engineers to fit the bass in. The strong fundamental keeps the majority of the sound above the kick drum, yet well below the rest of the band. Sounds great out front, but I'll be honest it doesn't always inspire me on stage, even though I'm up there telling myself how good it must sound for everybody else.
IMHE.
Sounds like you found "your string". I have tried TI's and like them alot. I also tried the GHS flats and they are pretty darn good. Not too dark and has good note definition and are fairly flexible at the standard gauge, but nowhere near as flexible as the TI's. I really think the gauges account for the TI flexibility. I wish they made a bit of a heavier set.
The DR's which I haven't tried yet seem like a mystery...DR does not have them posted on their site...it just says coming soon and it's not in their website catalog either. It's almost more like a word of mouth thing lol. Yet they been around for awhile. I would think DR would want to push a new string and get it out there or did they feel obligated to just come out with a flat because other companys have them too.
And some of the very few reviews of them make them seem like they're "just ok". I would have thought DR would have made a flat to be on par with the other high praise strings in their line of strings. The flats that do grab everyones attention seem to be TI's, Chromes and certain La Bella sets.
I'm just making an observation here...I have not tried them yet. I'm probably all wrong anyway lol.
good description. I feel exactly the same way, except that I ascribe those same virtues to Labella flats rather than Chromes. I find that the Labella flats have just a touch more perceived punch, and have a great growl. I recorded our band a few weeks ago with a Sony PCM-D50 using the internal mikes only. It is a VERY accurate recorder and captures all the nuances of what a band does (sometimes embarrassingly LOL). I was using Labella flats on my 66 P-bass through an SVT and a Bergantino NV215. We played a large hall and I did not go through PA. The stage sound was great. What surprised me was that the recorder, placed about 50 feet away at a table of friends, off-axis, captured a blissful tone. The definition of my bass was astounding, and I got a fabulous growl that stood out massively, but not obnoxiously. I also got great sweet tones on slow and lower volume tunes. The Labellas are my bass's life partner I think.
DR's are definitely available and you can get them from several eBay vendors for about $40 a set. I think overall, DR is just a roundwound company. That is what they're known for and that's where they focus their energy. One of the big problems with their strings is they're too long. The fat part of the string wraps half away around the post and I've broken several E strings becuase of this.
Good comments. I know what you mean. In my case, I have a combination that works wonders both on stage and out front. The Labellas on a P-bass.
OK, I may be misunderstanding you, but, why wouldnt you cut them about 3 fingerwidths past the post like normal.
It has nothing to do with how you cut them the fat part of the string extends about an inch past the post if you pull it straight. No matter how you cut it the fat part wraps around the post. It's a poor design in my opinion and I told DR about it after I had broken 2 E strings. I finally just said screw it and switched to something else.
La Bellas!
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