Given how you described what you want from that bass, I'd suggest you look at the Pyramid tapes. Very thumpy, woody strings with a nice textured feel.
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Flats guidance for two diferrent needs
- Thread starter Sir Toby
- Start date
Brighter flats are normally recommended for that bass given its intense natural warmth. And Chromes are commonly recommended, as well as Ernie Ball and Rotosound. I have had Chromes and Roto Jazz 77s on my ABG205. The Chromes created a very woody tone and, especially when soloing the neck pickup, sounded relatively close to an upright. However, I wasn't looking for that myself and prefer Rotos, but the high tension isn't for everyone.
In any case, if the Chromes present the issues you named, and given what you are looking for, then tapewounds are probably the way to go.
In any case, if the Chromes present the issues you named, and given what you are looking for, then tapewounds are probably the way to go.
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I haven't given up hope regwrding the chromes just yet and still have some pickup height experimenting to do but I really am intrigued by the tapewound thing! Will probably try tapes first and if that doesn't do the trick I may go with the La Bella FHB2.
Noone ever mentions these and none of my local stores carry them, but I use them on both my vintage Ps and love them. Bass NW (RIP) recomended Group III when I bought my 62 from them over 20 years ago. The group number differs depending on gauge...I have Group IV (40-95) on my 53. I have no idea how these compare with Slinky flats or Cobalt flats, they just sound good to me and last forever (I have yet to change them).
Yeah, there's a bit of that although it varies with different strings. Rotosound Tru bass are the thickest, the nylon coating on others is not as thick. The D'Addario ones I use on the Precision (50-105) feel a lot like my usual rounds (DR Sunbeams 45-105), just a bit more flexible.
It is a jungle.
Nice to hear! I have heard positive remarks about the group flats before and tou are right about them not being mentioned much. But all of the few opinions have been very positive. It is the Cobalt flats that are prone to rusting quickly, right? The group flats dont't seem to suffer from that as for as I know.
Hoe would you say they place themself soundwise compared to other flats?
Sir Toby,
The EB Group III and IV strings both started out bright and twangy without the zing of roundwounds. Over the years they have settled into a darker, thumpier sound.
The G IIIs on my 62 P are now the stereotypical dead flats you always hear about. They've been on the bass since I got it from Bass NW over 20 years ago. There's still a strong, snappy attack (great for pick playing) and then decaying quickly to a darker, rubbery tone without much sustain...James Jamerson territory.
The G IVs on my 53 have also been on for around 20 years and have a similar rubbery character but for some reason have retained more of the brightness. I mute them with foam for my blues gigs, without the muting they sustain longer than the G IIIs on the 62. This has bewildered me for years since I regularly rotate between the two basses every month or two, the playing hours on both sets are about the same.
Since the two basses have very different pickups and different woods (alder/rosewood vs. ash/maple) they don't sound the same although both have that "P sound". How much the strings contribute to the tonal differences I will never know without swapping the sets.
P.S. my recent AmStd Jazz 5 is strung with TI flats. Although not anywhere as old as the G IVs on my 53, those two basses have a similar timbral quality to my ears. Both the G III and IV sets are higher tension than the TIs, which sounds like what you are looking for.
The EB Group III and IV strings both started out bright and twangy without the zing of roundwounds. Over the years they have settled into a darker, thumpier sound.
The G IIIs on my 62 P are now the stereotypical dead flats you always hear about. They've been on the bass since I got it from Bass NW over 20 years ago. There's still a strong, snappy attack (great for pick playing) and then decaying quickly to a darker, rubbery tone without much sustain...James Jamerson territory.
The G IVs on my 53 have also been on for around 20 years and have a similar rubbery character but for some reason have retained more of the brightness. I mute them with foam for my blues gigs, without the muting they sustain longer than the G IIIs on the 62. This has bewildered me for years since I regularly rotate between the two basses every month or two, the playing hours on both sets are about the same.
Since the two basses have very different pickups and different woods (alder/rosewood vs. ash/maple) they don't sound the same although both have that "P sound". How much the strings contribute to the tonal differences I will never know without swapping the sets.
P.S. my recent AmStd Jazz 5 is strung with TI flats. Although not anywhere as old as the G IVs on my 53, those two basses have a similar timbral quality to my ears. Both the G III and IV sets are higher tension than the TIs, which sounds like what you are looking for.
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I love the Fender 9050s on my PJ. I use MLs, except I substituted a lighter G string from an L set because that 50 seems tight. I use the mismatched remaining set as backups. The L set is also awesome, but I prefer the big A string.
I recently changed my 9050s after about 18 months. They were sounding as good as ever, but just a little too mellow for my main gig. I love how slowly and consistently they age. They were sounding like smooth old flats by the time I took them off.
I recently changed my 9050s after about 18 months. They were sounding as good as ever, but just a little too mellow for my main gig. I love how slowly and consistently they age. They were sounding like smooth old flats by the time I took them off.
Okay...
Yeah, TI Jazz Flats are not the best strings for what you want to do with that bass. I have them on my Alembic Epic; which is the bass I... try... to play Jazz on. Being well aware of their... flexibility... this bass is finger-picked only, and while I don't play slap style at all - I would definitely never try it with the TI's. As for trying the Fender Flats? I would definitely replace the TI's with a set of 9050L's. Mainly because, aside from fixing all the drawbacks you're having with the TI's? Fender 9050l's sound an awful lot like TIJFs. I've had the Fenders on several of my basses over the years, and still have them on my G&L ASAT Bass. As I said, I don't slap - but I do play with a pick about 98% of the time. The Fenders do that very well...
As for the Semi-Hollow? Yeah, you're not going to get what you want, from arguably the brightest flats around (although, EB Slinky Cobalts might be a hair brighter). Sadly, the 9050's don't come in medium scale, or I'd recommend them on that bass, too. I've had them on one of my long scale semi-hollow basses (a 1st Gen MIK Danelectro DC59) for years. They were plenty thumpy on that bass, but... not quite what I'd call Old School. But, if that's what you want? La Bella DTF's will definitely give it to you. But, I wouldn't recommend the ones you mentioned. The FHBB's are expressly made for Beatle Basses, with small ball ends (Hofners sometimes struggle with normal Bass string ball ends) and a very long, small diameter tuner end to work with the guitar-style machine heads on Hofner's, and some other basses - like some models of Danelectros. Regular medium scale 760FL's should work just fine. As For the GHS Precision Flats? I have the long and short scale sets on two basses (both solid bodies), and I definitely like them - a lot. I like them so much, that as soon as I can get off my lazy butt, I'm going to put a medium scale set of them on my new Guild Starfire I - a semi-hollow body bass. And, as for the Pyramids? I was going to put a "short scale" set of them on the Guild, but... they are just a hair too short for that bass.
So... yeah; if you want Thump from the ABG200? La Bella 760FLs, or GHs Precisions will definitely give it to you. But, I think I'd take some measurements first - from where the ball ends mount, to the nut - to make sure that medium scale strings are what you need - and which ones will actually fit. I have basses that'll fool you - including a short scale Gretsch bass that really, really likes "long scale" strings...
Oh... as for the "flat/dull E string" thing? Speaking from 50+ year's experience with flats, I'll tell you that, right out of the package? A "Dull/Dead" E string - and "Bright" A,D, & G strings, are pretty much the norm with brand new flats. Flat wound strings need to be played - sometimes a little, sometimes a lot - to break them in. As you play them, the E string will brighten up, as the other strings lose their brightness. When they eventually meet somewhere in the middle? They're now broken in, and they'll stay like that for a long time...
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Okay...
Yeah, TI Jazz Flats are not the best strings for what you want to do with that bass. I have them on my Alembic Epic; which is the bass I... try... to play Jazz on. Being well aware of their... flexibility... this bass is finger-picked only, and while I don't play slap style at all - I would definitely never try it with the TI's. As for trying the Fender Flats? I would definitely replace the TI's with a set of 9050L's. Mainly because, aside from fixing all the drawbacks you're having with the TI's? Fender 9050l's sound an awful lot like TIJFs. I've had the Fenders on several of my basses over the years, and still have them on my G&L ASAT Bass. As I said, I don't slap - but I do play with a pick about 98% of the time. The Fenders do that very well...
As for the Semi-Hollow? Yeah, you're not going to get what you want, from arguably the brightest flats around (although, EB Slinky Cobalts might be a hair brighter). Sadly, the 9050's don't come in medium scale, or I'd recommend them on that bass, too. I've had them on one of my long scale semi-hollow basses (a 1st Gen MIK Danelectro DC59) for years. They were plenty thumpy on that bass, but... not quite what I'd call Old School. But, if that's what you want? La Bella DTF's will definitely give it to you. But, I wouldn't recommend the ones you mentioned. The FHBB's are expressly made for Beatle Basses, with small ball ends (Hofners sometimes struggle with normal Bass string ball ends) and a very long, small diameter tuner end to work with the guitar-style machine heads on Hofner's, and some other basses - like some models of Danelectros. Regular medium scale 760FL's should work just fine. As For the GHS Precision Flats? I have the long and short scale sets on two basses (both solid bodies), and I definitely like them - a lot. I like them so much, that as soon as I can get off my lazy butt, I'm going to put a medium scale set of them on my new Guild Starfire I - a semi-hollow body bass. And, as for the Pyramids? I was going to put a "short scale" set of them on the Guild, but... they are just a hair too short for that bass.
So... yeah; if you want Thump from the ABG200? La Bella 760FLs, or GHs Precisions will definitely give it to you. But, I think I'd take some measurements first - from where the ball ends mount, to the nut - to make sure that medium scale strings are what you need - and which ones will actually fit. I have basses that'll fool you - including a short scale Gretsch bass that really, really likes "long scale" strings...
Oh... as for the "flat/dull E string" thing? Speaking from 50+ year's experience with flats, I'll tell you that, right out of the package? A "Dull/Dead" E string - and "Bright" A,D, & G strings, are pretty much the norm with brand new flats. Flat wound strings need to be played - sometimes a little, sometimes a lot - to break them in. As you play them, the E string will brighten up, as the other strings lose their brightness. When they eventually meet somewhere in the middle? They're now broken in, and they'll stay like that for a long time...
Thank you so much for the great advice. I thought the FHBB and FHB2 were the only La Bella sets for medium scale. Will check out the FL medium right away! Or the GHS, time to go listen to some sound clips on the outernetz. Or Black Nylons. Or tapes...
And regarding the TMB I will get a set of 9050L first and if that doesn't so it when played in I will likely go fot the La Bella FL.
Thanknyou for the grest advice, everyone. I will report back!
Measure both. They are different style basses; I would be surprised if the measurements were the same. Possible, of course; but, I wouldn't bet the cost of a set of flats on it...
I was asking about the Hollowbody, but I’m sure others will want to know the TMB as well as @GIBrat51 mentioned
The TMB is 35,4 inches from ball end to nut and 37,6 inches from ball end to silk.
The ABG short scale is 33 inches from ball end to nut and 34 inches from ball end to silk.
Hope that helps! Good for me to know before ordering at least. The ABG is definitely more medium scale and the Chromes on it are medium scale length and fit perfectly (although not sound wise for me on this bass).
The ABG short scale is 33 inches from ball end to nut and 34 inches from ball end to silk.
Hope that helps! Good for me to know before ordering at least. The ABG is definitely more medium scale and the Chromes on it are medium scale length and fit perfectly (although not sound wise for me on this bass).
