D'Addario Chromes vs. Rotosound Monel flats

[mmmelatonin]

Anyone tried both so can give a comparison? I hear the chromes are brighter because they're stainless steel as opposed to the monel with high nickel content. Does this mean a less muffled sounding tone? If anyone has good youtube videos comparing them I'd be interested to see as well. Also other things like tension and smoothness I'd be interested in hearing about from someone who's actually used them.

 

[HaphAsSard]

tension

It would be swell if those who reply take some extra milliseconds to specify which gauges (or sets) they actually have experience with, for each of the two.

 

[mmmelatonin]

i think most people would just use 45s, maybe 40s tho some people use lighter gauge with their flats i think

 

[HaphAsSard]

i think most people would just use 45s, maybe 40s tho some people use lighter gauge with their flats i think

There is only one set of gauges the respective product lines have in common, to wit: 40-60-80-100 (sets ECB84 and SM77). Everything else is not like the other.
By way of example:
Let's say one user has tried both the D'Addario Chromes and the Rotosound Jazz Bass 77 in '45 gauge', and says the latter are tighter than the former.
How much can be attributed to higher inherent stiffness of the Roto set, considering half of it is actually fatter than the corresponding half of the Chrome one (85-105 vs. 80-100)? Pardon the pun, but it'll be...hard to gauge.

 

[mmmelatonin]

ohh yeah fair enough i didnt look that closely lol. although that would be worth talking about though because what difference does it make what is causing it if one is tighter than the other? its not like you can change the gauge or anything.

 

[Geogio]

i think most people would just use 45s, maybe 40s tho some people use lighter gauge with their flats i think

Depends on the nut. With wait times for set up technicians growing longer... how many opt for factory set string gauges vice exotic/boutique? If only Floyd Rose made bass bridges and "nuts"- wipe on wipe off.

 

[ValleyBass77]

I’ve used the Chromes in 45-100 and 50-105 gauges. I find them bright at first, but they mellow out over time. Glassy smooth feel, which I like. The 50-105 is a burly high tension set. They aren’t difficult to play if your instrument is setup well (and your neck can support the tension). Personally, I find the 45-100 set to be a good mix of tension and playability (they’re my preference….talking standard tuning here).

I’ve used the Roto monel flats in 45-105. Definitely a high tension set. They’re not nearly as smooth feeling under the fingers and are less flexible. Tone wise, I find them less bright, more thumpy, and less sustain (compared to the Chromes). But I do like them as well- they’re a unique flat.

 

[trothwell]

Here's an old (but I think good) comparison video between several brands of flatwound strings, including the Chromes and the Rotosound 77s:



As for me personally ... it has been a while since I've played Chromes! I remember liking them, but I wouldn't be able to provide any meaningful comparison.

The Rotosound 77s are known for being high tension and stiff in general. I would probably pick their 40-100 set over the 45-105 set. One thing I do like about the 77s is the E string is especially clear and solid. Some other flatwound strings I've used, the E string tends to sound kind of muffled and/or weak. But again, I don't remember enough about the Chromes to compare directly.

 

[Deleted member 271037]

Both are stiff. Both are brighter than most other flats (at least out of the box). None of them are particularly thumpy, even after they mellow out.

That's where the similarities end.

Roto flats have a much rougher surface. They are sort of between other flats and roundwounds. D'Addario Chromes have a much smoother surface, like most flats.

Roto flats have a very strong mid presence, and are quite bright when new. Not "zingy" bright, but "upper mids" bright. The brightness of Chromes is a much "narrower", clanky/metallic sort of brightness. Basically "the D'Addario tone". Compared to the Rotos the brightness of Chromes is more about string noise/clank than an actual tonal upper mid presence. Both will mellow out over time.

Rotos can be set up with lower action than most other strings without introducing fretbuzz. The heavier gauges they also NEED to be set up with a lower action than most strings. If not, they will be very hard on your fretting hand. D'Addario Chromes work best with a "standard" setup, like most other strings of similar gauges.

Roto flats have a noticeably lower output than other strings (due to the monel wrapping). The output is even lower than pure nickel strings. D'Addario Chromes have a normal output, maybe even slightly higher than average.

Out of the box Rotos sound almost like roundwounds. They mellow out over time, and will eventually sound closer to other flats, but the strings typically mellow out very differently. The E+A-strings stay bright for a long time, while the D+G-strings mellow out relatively fast. A fresh set of D'Addario Chromes sound like flats with added "clank" and mellow out more evenly across the strings.


Ok, that's the objective differences. Now for my highly subjective opinions:


Personally I love Roto flats. The mids of Roto flats are simply gorgeous! But I think of Roto flats more as an alternative to roundwounds, than an alternative to other flats. They're totally unique.

Personally I hate D'Addario Chromes. I find them extremely inarticulate. I also find them too clanky when they're new and dull sounding when they mellow out. EXCEPT the short scale sets, where the stiffness is counteracted by the lower scale/tension. Chromes are much "livelier" on short scale basses. I actually like Chromes on short scale basses. They're not my favorites, but I like them.

With Rotos it's the opposite. I don't like the short scale Roto flats at all. In fact, I find them utterly useless. Far too floppy and buzz like crazy with anything close to normal action (at least with MY playing style).

So basically, I love Rotos and hate Chromes on long scale basses, but like Chromes and hate Rotos on short scale basses.

I can't predict which ones YOU will prefer though. These strings are so TOTALLY different that you will 100% definitely prefer one over the other.

 

[ClassicJazz]

The Rotosounds in my opinion are the best sounding flats out there. Great articulate tone and not at all muddy sounding. You hear every note very clear with the Rotosounds. And probably the brightest of all the flats. Remember it is much easier to cut highs then add them in!

 

[michael_t]

A few people have already mentioned about the "rougher surface" on the Roto.

Here's a visual comparison...

 

[michael_t]

The Rotosounds...
... probably the brightest of all the flats.

Actually the Ernie Ball Cobalt Flats (aka Slinky Flatwound) are the brightest of all flats, although the Roto 77 are one of the brighter flats.

The Cobalt Flats are also one of the more flexible ones.

 

[Stranger Danger]

Rotosounds were unplayable to me. Way too stiff

Chromes 45-100 gauge is perfect

 

[L-u-A-R]

I've used Addario Chromes 45-132 long scale (on a fretless) and super long scale (35'' scale bass).
I swapped the fretless to Rotosound 77 flats, still 45-132, it was near the beginning of my journey with strings.

Regarding tension - tension is a moot point to me. I paid no attention and can only say I had no issues with either set.
Regarding smoothness - as seen, the wind is 'rougher', on the Rotosounds, but they felt smoother to my fingers. The Chromes had a kind of texture to them that had a bit of grab. Although I did notice, these details are also moot to me.

My opinion on sound.
The Chrome flats were smooth with a tiny bit of steel 'edge'. The Rotosounds were more singing, with a mellowness.
On the 35', the Chromes worked quite well, I tested them against Thomastik Jazz flats - I really liked the E-D of the TI Flats, but the Chromes sustained better, especially the B string.

I didn't let any of these mellow out, as I've been trying as many different kinds of strings as I can get a hold of. So no comment on aging.

I liked both of them, but would go with the Rotosounds on the bass I tested them with both with.
Versus the TI flats on 35'' scale - not sure, again I liked them both.

I think the videos that the manufacturers have put out give you a decent idea of each set:
D'Addario XL Chromes
Rotosound Jazz Bass 77

 

[-Stingray]

If you go with Chromes I recommend the lighter gauge (40-95) or medium gauge (45-100). I played the 55-110's for a while and they lacked articulation and depth.

 

[LHbassist]

I've been playing on flat wounds since 1967, when that's pretty much all there was. Fender, LaBella, Darco- Fender, Gibson and some other brands that were only available in large stores, like Rickenbacker, etc. When you bought LaBellas in '67, the package had a checked box on it "For Fender" or "For Danelectro, Gretsch, etc. " See pics. No gauges were printed on the package. When Rotosound 'Swing Bass' became available, it caused a revolution. You had to be very careful, or if your bass wasn't quite long scale, you'd break them installing them. The only Rotosound flat was a heavy gauge RS 77 set that was VERY high tension. They sell those to this day, but about 25 years ago, added lighter gauge sets, which are excellent. The Steve Harris set, is the heavy gauge. Those strings ring like crazy- and take a long time to lose that 'zing.' I have a set that's about 30 years old, that have been on so many different basses, the red silk on the tuner ends, is just about gone. They STILL sound amazing. I have a lot of basses strung with flats. I dig all of them, Fender 9050 L, Chromes, Rotosounds, S.I.T., LaBella Deep Talkin' Bass, and Ernie Ball Slinky. All of them are very nicely made, great sounding strings. I also have a 52 year old set of Fender teal silk flats, that came on my new 1973 Precision bass. It really is a matter of personal preference.. and that, is subject to change.

 

[Cartentoya]

Both are stiff. Both are brighter than most other flats (at least out of the box). None of them are particularly thumpy, even after they mellow out.

That's where the similarities end.

Roto flats have a much rougher surface. They are sort of between other flats and roundwounds. D'Addario Chromes have a much smoother surface, like most flats.

Roto flats have a very strong mid presence, and are quite bright when new. Not "zingy" bright, but "upper mids" bright. The brightness of Chromes is a much "narrower", clanky/metallic sort of brightness. Basically "the D'Addario tone". Compared to the Rotos the brightness of Chromes is more about string noise/clank than an actual tonal upper mid presence. Both will mellow out over time.

Rotos can be set up with lower action than most other strings without introducing fretbuzz. The heavier gauges they also NEED to be set up with a lower action than most strings. If not, they will be very hard on your fretting hand. D'Addario Chromes work best with a "standard" setup, like most other strings of similar gauges.

Roto flats have a noticeably lower output than other strings (due to the monel wrapping). The output is even lower than pure nickel strings. D'Addario Chromes have a normal output, maybe even slightly higher than average.

Out of the box Rotos sound almost like roundwounds. They mellow out over time, and will eventually sound closer to other flats, but the strings typically mellow out very differently. The E+A-strings stay bright for a long time, while the D+G-strings mellow out relatively fast. A fresh set of D'Addario Chromes sound like flats with added "clank" and mellow out more evenly across the strings.


Ok, that's the objective differences. Now for my highly subjective opinions:


Personally I love Roto flats. The mids of Roto flats are simply gorgeous! But I think of Roto flats more as an alternative to roundwounds, than an alternative to other flats. They're totally unique.

Personally I hate D'Addario Chromes. I find them extremely inarticulate. I also find them too clanky when they're new and dull sounding when they mellow out. EXCEPT the short scale sets, where the stiffness is counteracted by the lower scale/tension. Chromes are much "livelier" on short scale basses. I actually like Chromes on short scale basses. They're not my favorites, but I like them.

With Rotos it's the opposite. I don't like the short scale Roto flats at all. In fact, I find them utterly useless. Far too floppy and buzz like crazy with anything close to normal action (at least with MY playing style).

So basically, I love Rotos and hate Chromes on long scale basses, but like Chromes and hate Rotos on short scale basses.

I can't predict which ones YOU will prefer though. These strings are so TOTALLY different that you will 100% definitely prefer one over the other.

Very accurate description of both strings. Love me some Rotosounds flats, being new or dead, but right now I have them on stand by because I want to try a lower gauge, because tension, not that I hate the regular 45-105, it is great with very low action, but I want to play some things that requiere more fast playing. Chromes, I don´t hate them, had the 50-105 on a bass for a while but to me they were kind of boring and I don´t love the feeling of them. But! the same chromes set I tried on my musicmaster short scale and I'm very much enjoying them, not the feeling, but I think they sound great on the shorty!

 

[mmmelatonin]

I’ve used the Chromes in 45-100 and 50-105 gauges. I find them bright at first, but they mellow out over time. Glassy smooth feel, which I like. The 50-105 is a burly high tension set. They aren’t difficult to play if your instrument is setup well (and your neck can support the tension). Personally, I find the 45-100 set to be a good mix of tension and playability (they’re my preference….talking standard tuning here).

I’ve used the Roto monel flats in 45-105. Definitely a high tension set. They’re not nearly as smooth feeling under the fingers and are less flexible. Tone wise, I find them less bright, more thumpy, and less sustain (compared to the Chromes). But I do like them as well- they’re a unique flat.

ah okay thanks for the info! chromes definitely sound like a better fit for me. I like to have a lot of sustain and while i do like the sound of flats a bit of brightness would be nice for versatility.

 

[mmmelatonin]

The Rotosounds in my opinion are the best sounding flats out there. Great articulate tone and not at all muddy sounding. You hear every note very clear with the Rotosounds. And probably the brightest of all the flats. Remember it is much easier to cut highs then add them in!

yeah i definitely value clarity. that was my main concern when thinking about flats.

 

[MrAB4003]

Anyone tried both so can give a comparison? I hear the chromes are brighter because they're stainless steel as opposed to the monel with high nickel content. Does this mean a less muffled sounding tone? If anyone has good youtube videos comparing them I'd be interested to see as well. Also other things like tension and smoothness I'd be interested in hearing about from someone who's actually used them.

I play both of them of different basses and I love them both.

The Chromes are brighter than the 77s, which are lower output. But I also have the Chromes on one of my Rickenbacker 4003s, which are bright basses to begin with. The 77s are on my MIA P Bass, which can get pretty bright too. Those strings NAIL the Steve Harris tone. Neither set has a muffled tone unless you turn your tone knobs down.

They’re my two favorite flatwound string sets, so I can’t pick a winner. But really it depends on the basses you put them on. A string-bass pairing is like a food-wine (or other beverage) pairing.