I’m checking the low tension La Bella’s right now but I may very well go back to the Dunlops. The Dunlops are the string I like the most as a replacement for my favorite flats, the now defunct Sadowsky blacks.
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Dunlop Flatwounds premiering at NAMM
- Thread starter JimmyM
- Start date
I gigged the new Dunlops for the first time today, and holy crap! I really liked them in 45-105 gauges, but I absolutely love the 40-100 set with a passion usually reserved for Ampeg tube amps and P and PJ basses with EMG Geezer pickupsI shouldn't be surprised, though...I love their Super Bright Nickel rounds in 40-100 (or 120 on my 5) that much, too. I loved them so much that I think I may give up using foam under the strings once they go dead all the way, as I don't think I'll need it.
I know there's a dedicated mini thread on this topic but it doesn't really answer the question, if there is an answer to it at all. Thus I'm asking a TB expert: how do the Dunlop flats (say the 45105 set) compare to the Fender flats (9050L)? I put a set of the said Fender flats on my Pbass a month ago and although I like them, they are not as warm and bouncy as I'd like them to be. I do like their low tension. It's kind of embarrassing to cite this or the other famous bass player when looking for a certain tone, I'm aware of that, but to give a reference, this is the tone I'm looking for (which, besides the hands of Mr Shakespeare, may well be the result of xxx effects):
Dude in the video is using DR Legends. Legends are pretty firmly planted in old school/traditional flat territory. Sound and feel like broke in La Bellas. Tension is a bit lighter then La Bellas and maybe a tad higher than the 9050Ls.
I've long been a proponent of the Dunlop flats and have used all three sets. 40-100, 45-105, and 50-110. The 45-105 set is lower tension and more flexible than the Fenders. They are warmer than the Fenders and really straddle the line of traditional/modern flat perfectly. They'll give you more thump than the Fenders and provide a full and clear fundamental. Balanced nicely and play great right out of the pack. Very smooth and no "sticky" or tacky period like I've found in Fenders, Chromes, Cobalts. I found the Fenders to be more suited to my Jazz bass.
As far as the DRs go if you're interested.... they have become my favorite traditional flat over both the GHS P Flats and La Bella 760s and would recommend giving them a shot for that old school flat vibe. It took me a couple of tries to come around to the DRs but I think I was looking for something with more versatility the first times I tried them. If you're looking for something in between the Fenders and old school flats like DRs or La Bellas...the Dunlops are a perfect fit.
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Thanks for the informative post, it is very helpful in trying to figure out which flats are the most appropriate for my needs (reggae dub & jazz dub stuff). The low tension and the flexibility of the Dunlops is quite appealing, especially when coupled with more warmth than the Fenders. As regards the DRs, do you consider the tone in the video "old school"?
In the end I'm pretty sure I'll have to try both of them
and they are $$$ in Europe 
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I'd say the strings are what bring the old school to the tone in the video but wouldn't call the tone old school necessarily. The bass used and what ever they are running it through effects and processing wise modern it up. Put the DRs on a P as you're intending and you're in Motown/Stax land. For the styles you mentioned I think the DRs might suit you slightly better but I wouldn't be afraid to use the Dunlops in the same situation.
DRs are a bit of an enigma around TB. I read so many completely conflicting reviews on them. DRs are a medium tension set of flats and you wouldn't notice an extreme difference from the Fender flats to the DRs. They are a bit tighter but nothing like going to Rotos or La Bellas of similar gauge. They kind of occupy a tonal space in between La Bellas and GHS P Flats. The warmest and darkest flat I've played are the GHS P Flats and they would also be a good choice for the styles you mentioned.
Thanks again for your post. Having read that they are warm and dark, I considered GHS P Flats before buying the 9050L but decided for the Fenders as the GHS are rather too long (Long Scale Plus - 38” Winding Length) for a neat installation on a Pbass. I understand that the DRs might suit me better tone wise than the Dunlops but I'm not sure I'd like anything more tense and stiff than the Fenders. In that respect, the Dunlops, combining warmth with low tension and flexibility, might be the ticket. Lastly, I should perhaps give the Fenders a bit more time to mellow out and see whether they can give a fat bouncy tone on my Pbass. Decisions...
PS. I agree on the character of the tone in the video: too bouncy/lively to be just old school. He's playing a J-style bass though (perhaps an active one at that), not a passive Pbass like myself, and who knows what his chain is. Some compression for sure, I suppose. Perhaps the Dunlops on a Pbass will in fact sound like DRs on a Jbass - not taking into account any effects on top.
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Dunlops are my favorite overall flat so I think it's a great choice. The 45-105 set plays like a dream. I also use the Dunlops my short scale Serek.
Keep in mind DR "long scale" is 37.75" in winding length (ball end to silk), which is almost as long as the GHS "long plus" (38"). Dunlop "long scale" is 37.25".
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Yes, you're right. Thanks for pointing this out. I think I remember that you've had some experience with the Fender 9050L. If so, how much will they change with time and use? Will they converge with the Dunlops to a warm round full tone (not dead and thuddy)?
I don't think I can answer your questions in any meaningful way because... 1) I never had the 9050L long enough to tell how they age long-term, and 2) I've never tried the Dunlop Flats.
Having said that...
Regarding the 9050L, After the initial break-in period of a month or so, they stayed fairly consistent in tone for up to a year.
Regarding the Dunlop Flats, if I were ever to find myself in a situation where I need a bass with flats, they're the ones I would love to try based on all the positive reviews I've read on them.
Thanks. I just realized (I had already watched this video a few times) that Michael League plays Dunlop flats - and I do like his tone.
- Oct 22, 2015
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With fewer than two weeks on Dunlop .040-.100 flats on a semi-hollowbody Chowny CHB-1, reporting they sound like they're breaking into "warm". Or, at least, going that direction. Tone knobs are still closed 
The Dunlops replaced nicely broken-in La Bella LTFs. What I looked for with the Dunlops are greater articulation for chords and higher-register notes, flexibility, and maybe a bit higher pulling tension. The Dunlops tick the articulation and flexibility boxes for me. There's been no need for truss rod adjustments.
The Dunlops replaced nicely broken-in La Bella LTFs. What I looked for with the Dunlops are greater articulation for chords and higher-register notes, flexibility, and maybe a bit higher pulling tension. The Dunlops tick the articulation and flexibility boxes for me. There's been no need for truss rod adjustments.
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Interesting to look for articulation in flats - but it makes sense. According to my limited experience it is often the case with flats (and arguably with stiffer strings in general) that they lose their articulation as one moves higher on the fretboard. I suppose due to the unfavourable combination of stiffness and reduced length stifling the vibration of the string, so they more or less produce just a thud. Perhaps an expert TBer could verify or falsify this theory.
You can get that tone out of the Dunlops when they're dead. I don't know that the tone is as special as the playing, though. Robbie's a master at da reggae riddims, mon.
Indeed, any string set on any bass will sound reggae dubby enough in the hands of Mr Shakespeare. My question at the moment is whether the 3-week fresh 9050L set on my Pbass will sound like that as they get older or whether I should rather look elsewhere for this type of tone, i.e. Dunlop flats or DR Legend or GHS P flats. Ay, mon.
The two sets of flats I've been using lately are Fender 9050L and Dunlop 45-105. I've had the Fendera on a jazz for 2.5 years now, and the Dunlops for a year on a P. Upon installation a year ago, the Dunlops already sounded more flatty and thuddy than 1.5 year old at that point Fenders. By now, the Dunlops aged even more, in a nice way, into the old school flats territory, while Fenders haven't changed much; most of their aging happened in the first month. I love Fenders for versatility, they can do everything, except maybe the Marcus ultra crisp thing, and whatever needs fresh rounds. They can do the played-in rounds, and with some muting, they have enough thonk and ponk to do the old flats thing well too. Dunlops can only do the latter (beautifully), even though they're reasonably bright. Actually, I don't think that flats are about lack of highs or articulation. I play mine with tone wide open, and I absolutely love the articulation I get with them, the way I hear the frets when sliding into a note, doing hammer-ons, trills etc. Hence, I never agreed with all the guys who claim that rounds can do the flats thing, just turn the tone knob off. No.
One jazz guitarist told me they like flats not necessarily for the darker tone, but mostly for more fundamental and fewer overtones - helps with clarity when playing complex chords.
Dunlops have lower perceptible tension than Fenders, and are certainly smoother and more flexible. Very well balanced, too. Definitely my favourite string for tactile feel.
One jazz guitarist told me they like flats not necessarily for the darker tone, but mostly for more fundamental and fewer overtones - helps with clarity when playing complex chords.
Dunlops have lower perceptible tension than Fenders, and are certainly smoother and more flexible. Very well balanced, too. Definitely my favourite string for tactile feel.
That would definitely help but I'm not good at it. In the meanwhile the Fender 9050L are getting mellower, so they may be fine in the end - I'll give them some more time to settle in. If not, I'll try the Dunlop flats, the DR Legend, and the GHS P flats, probably in this order.
Finally put my Dunlop Flatwound 40-120 set on after 1½ year I got it, replacing La Bella 750C-B Copper White Nylon Tapewound. I haven't touched the truss rod upon changing, which means these Dunlops are indeed low tension flatwounds.
Ibanez SRH505F with Dunlop Flatwound 40-120
Interesting to see that these Dunlop Flatwound outer wraps aren't as gray as Chromes and the windings are tighter than Chromes', despite comparable/almost the same gauges, still the Dunlop feel more flexible.
Top (5 string fretless): Dunlop Flatwound 40-120 set. Bottom (3 string fretless): D'Addario Chromes 45-60-80 + (4 string fretted): Dunlop Super Bright Nickel 45-105
I like how these Dunlops were able to bring the right kind of warm sound out of my Ibanez SRH505F.
Ibanez SRH505F with Dunlop Flatwound 40-120
Interesting to see that these Dunlop Flatwound outer wraps aren't as gray as Chromes and the windings are tighter than Chromes', despite comparable/almost the same gauges, still the Dunlop feel more flexible.
Top (5 string fretless): Dunlop Flatwound 40-120 set. Bottom (3 string fretless): D'Addario Chromes 45-60-80 + (4 string fretted): Dunlop Super Bright Nickel 45-105
I like how these Dunlops were able to bring the right kind of warm sound out of my Ibanez SRH505F.
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I think Dunlop uses the same formula for their flats as their Super Bright rounds - a thinner core wire to achieve the extra flexibility.
