I'm using a Chromes set that goes 40-55-75-95 that I put together from singles to achieve a more balanced tension, and they feel lighter and slinkier but I don't notice any lack of oomph whatsoever.
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D'Addario Chromes Tension and Gauge Question
- Thread starter Jimmy Stump
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@Jimmy Stump: FYI, if you want to keep exploring the D'Addario flat route, the most balanced Chrome sets are the ECB80 (40-60-75-95, which can be made even evener by replacing the D with a single 55, as said above), and the ECB84 (40-60-80-100 - would be perfect, in this specific respect, if it had beefier G and E, also as noted upthread).
I use two jazz basses, both string with chromes. One bass has the 50-105 set tuned to E flat. The other has the 45-100 set tuned to standard. The feel of the two basses is the same to me and the sound is solid.
I have not tried the 50's tuned to standard. They would definitely take another crank on the truss rod to balance out the extra tension.
-m
I have not tried the 50's tuned to standard. They would definitely take another crank on the truss rod to balance out the extra tension.
-m
I've been using ECB81s for years on my P basses and Jazz bass and I play all types of music, they are right on, I don't know where all this " they're not the right strings for your project" stuff is coming from???
I started doing that about 15 years ago on the Super Soft set, swapping out the stock .060 D for a .055 to create a really nice feeling set.
try tapewound
I have la bella blacks on one bass and it plays so easy that I stay away from playing it too much because it makes it difficult to play my other bass's after the switch. Consequently, it's my noodle bass and stays with the tube amp in the house. It sounds and plays SO Nice, though!
Got 40-100 on two basses one of which is a jazz bass, whilst the second is a luthier-made one (Biarnel).
The Chromes seem a bit stiffer on the jazz, which, consequently is a tad more difficult to play although i like the tone in both cases ...
I always use the BT 105-80-60-45 chromes and they are great. Less flexible than rounds but no more tension like people say. GHS were to dark, LaBella the same, I liked fender 9050's but they stopped making the set I liked 
The chromes have a perfect blend of thump and clarity to my ears, while still sounding like a flatwound.
The chromes have a perfect blend of thump and clarity to my ears, while still sounding like a flatwound.
45-100 chromes are my choice for yrs. And wait for a couple of weeks, their surface will become really smooth and stiffness will go away, too.
There are two aspects that I would stress, that some folks overlook (not saying the OP has), but it's important to adjust the truss-rod according to tension changes and to give the strings time to break in properly.
If the new set does have higher tension than the previous set, it will cause more forward bow in the neck, which will result in higher action (unless the truss-rod is tightened), and that could be the reason why a lot of folks find that new flats hurt their fingers or feel too stiff. Also, I've found that flatwounds take a little longer to settle into place at break-points over the nut and bridge saddle. Once the string has settled here, the action will also come down a bit.
If the new set does have higher tension than the previous set, it will cause more forward bow in the neck, which will result in higher action (unless the truss-rod is tightened), and that could be the reason why a lot of folks find that new flats hurt their fingers or feel too stiff. Also, I've found that flatwounds take a little longer to settle into place at break-points over the nut and bridge saddle. Once the string has settled here, the action will also come down a bit.
I'm with other posters who have recommended a customized set from the ECB80 Super Light Gauge of 40-60-75-95 to 40-55-75-95, either with additional CB132 low-B (and CB032 high-C) or not, when choosing the Chromes. I also attest that despite super light gauge, they still have beefy enough tone, have far less tension and nowhere they are difficult to play.
Originally, I started using Chromes with the most commonly used ECB81 set (45-65-80-100), with additional CB132 and CB032. Later, I even had 3 other ECB81 sets on 3 other basses. As time went by, I've grown to like light gauge strings on most of my basses, thus the ECB80 set, then customized to 40-55-75-95-132, was instantly my preferred choice and is the ultimate gauge of Chromes that I keep until now.
Originally, I started using Chromes with the most commonly used ECB81 set (45-65-80-100), with additional CB132 and CB032. Later, I even had 3 other ECB81 sets on 3 other basses. As time went by, I've grown to like light gauge strings on most of my basses, thus the ECB80 set, then customized to 40-55-75-95-132, was instantly my preferred choice and is the ultimate gauge of Chromes that I keep until now.
Had a set of the Chrome's with the 95 E string, it was very comfortable playing and feeling with nice sound. As others have mentioned, it's a great compromise for a set of Chrome's
Did you know that you could/should set the witness points at the nut (both sides) and at the saddles? This makes a huge difference in action and feel, plus it really is critical to do when setting intonation.
Yes, that's a good point. I do press down on the speaking-length side of the string, just beyond each witness point, after installing a new set. Still, I've found this doesn't take it 100% of the way there. Seems that over the next few days, the strings complete the process themselves and there's always a little more intonation and action tweaking to be done.
How about LaBella 760FS (45-65-85-105)? How do they differ from the GHS Precision Flats of same gauge?
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