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Daddario flats....ugh..way too bright!

I'm a week into the Chromes experiment on my P-bass, and only because I didn't have immediate access to Labellas or Sadowsky flats. But, I have to admit, I am intrigued. They sound very musical, and the tension is great (IMHO.) I'm interested to see how it turns out in the next few months. I had somewhat of a negative impression based on what I had read here on TB, but I now have an open mind and am anxious to see what I find over the next few months.
 
Daddario chromes (flats) are my favorite. If you got both sets new then one should not be brighter than the other, if they were sealed. Perhaps one bass is brighter because of its ability to resonate better than the other.
Anyways, if you want darker then roll off the tone all the way and adjust your EQ. That's what I do. In some time they should darken to your liking.
Also, use that code on the box they came in to check for authenticity with their website. Many big brands are counterfited more than you think. Perhaps one is fake and that's why it's not the same.
 
2 weeks in and my Rotosound Jazz Bass flats are just barely beginning to lose their bright, new sound. You will probably hate them for at least that long, depending on how much you play, but I agree with iiipopes that in no time they will be much darker than they are now.
 
Here's an interesting comparison: I have a set of Chromes on one P-Bass and a set of 1/2 Rounds on another. The bass with 1/2 rounds is much more "thumpier" than the bass with Chromes.

Three variables come to mind which affect this. First, the 1/2 rounds are about three months older and have seen much more playing. Second, the 1/2 rounds are 105-50 and the Chromes are 90-40. Last would be pickups: the chromes share a bass with Stew Mac Golden Age pups and the 1/2 rounds are mated with Kent Armstrong pups.

I think the fun is in the experimentation, the consideration of variables, and the discussion on TB.
 
The brightness is the reason why Chromes have become my replacement for the round-wound sound. I use them on my jazz and PJ because I think they offer great characteristics for rock. They took me a couple of months to finally "get" it. The feel and sound out of the package is not representative of why people on TB like them.

As others have mentioned, roll off the tone a little more than usual until the strings catch up.
 
Chromes are my favourite too. I'm trying to break in a set of La Bella 760FS (45-105) but just can't seem to get a musical sound out of them. Keeping them on for a while longer but may be forced back to the chromes. If I do I may downsize the chromes to 45-100 just for $#!ts and grins. Had 50-105 on before.
 
I have Chromes on an Ibanez GSR 200. They sound pretty good. They really helped reduce parasitic finger noise from moving up and down the neck as well (pull offs and such). Can't say I noticed the break-in period.

-BL
 
Chromes are my favourite too. I'm trying to break in a set of La Bella 760FS (45-105) but just can't seem to get a musical sound out of them. Keeping them on for a while longer but may be forced back to the chromes. If I do I may downsize the chromes to 45-100 just for $#!ts and grins. Had 50-105 on before.
I have a set of those labellas that are a year old now. Fantastic!
 
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I too am not a huge fan of chromes.... at first install.
But after they have aged i love them.
I think these strings take the longest of any flatwound to settle in and get to their sweet spot.
Which is why there is just as many hate them as there are love them posts.