It can be expensive to try flatwounds from different companies, my experience is with TI and Fender flats. Maybe im just deaf but i couldnt hear a lot of difference sound wise between those flats. In my view, it depends on the texture and the tension under the fingertips to pick your preferred string. A costly endeavour to try different flats for sure but rewarding in the end because most of them last for years. Feel free to debate.
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Flatwound differences
- Thread starter Eikari
- Start date
It can be expensive to try flatwounds from different companies, my experience is with TI and Fender flats. Maybe im just deaf but i couldnt hear a lot of difference sound wise between those flats. In my view, it depends on the texture and the tension under the fingertips to pick your preferred string. A costly endeavour to try different flats for sure but rewarding in the end because most of them last for years. Feel free to debate.
I don't mind the money, but it's so time consuming! Trying out a set means putting them on and playing them for half a year.
By then you can't really tell if you really like them or if it's Stockholm Syndrome.
By then you can't really tell if you really like them or if it's Stockholm Syndrome.
Experimenting with different flats can be costly and time-consuming, but one nice thing about them is they can be re-used. If you try a set and decide it's not for you, you can always try recouping some of the cost by selling them to someone who would love to have already-broken-in flats.
Then once you find the ones you like both in tone and feel, you can run with them for years, which in turn offsets the initial investment. You do need to be very patient when trying flats, though, as a lot of them don't show their true characters until they're at least 6-12 mths old. Also, the magic of flats is how they sit in a live band mix, not how they sound on their own, so make sure not to pass judgment on them prematurely.
Then once you find the ones you like both in tone and feel, you can run with them for years, which in turn offsets the initial investment. You do need to be very patient when trying flats, though, as a lot of them don't show their true characters until they're at least 6-12 mths old. Also, the magic of flats is how they sit in a live band mix, not how they sound on their own, so make sure not to pass judgment on them prematurely.
IME most tonal differences between flats (excluding tapewounds of course) can be mitigated by eq. The key difference for me is tension/gauge/feel. I hate a string so tight it feels like a piano cable. I use Labella LTFs....similar comfy/flexi-feel to TI Jazz flats but cheaper and without the oversized 136B.
Good comparison video. I have always used and liked D' Addario flats personally, but that is me. But I agree, trying a bunch of different just to try to find the right ones could be a necessary thing to find your personal favorite, but yes, generally more expensive than most rounds.
Ya, it's really a years long process with flats. I like the Dunlop flats, but I've by no means tried all of them. For me, over the past 5 years I've played 3 flats extensively: Chromes, Dunlop, and LaBella's. I like the Dunlop the most.
On the short list to try or Tomastik's and DR. But if it ain't broke don't fix it.
On the short list to try or Tomastik's and DR. But if it ain't broke don't fix it.
I've tried a few but finally settled on GHS Precision Flats, most because there is no breaking in period, they sound good right out of the pack. But I also use a Fender mute with them, to get that Jamerson thud.
Another problem with trying out flats is that it can take a long time for them to "break in," so you have to sink a lot of time into trying them as well as money.
Lucky for me, the first flats I tried were TI's and they were perfect for me. No need for further experimentation....
Lucky for me, the first flats I tried were TI's and they were perfect for me. No need for further experimentation....
I love the sound of TI's but not their flexibility. Too flexible for me. I like LaBella DTFs on my pbass and Pyramid Gold flats on the jazz.
All of this is excellent advice. I've always wondered about reusing strings, though. Like other players, I put witness points in on my strings. I would think that would affect re-using the string in some way, or maybe not? Am I overthinking this?
I have d'Addario Chromes on my 5-string Moollon Preci. They do sound very nice ... but ... they seem to have a high tension and are quite difficult to play when compared to my usual d'Addario Rounds. Also, I had to adjust the trussrod considerably to adapt to the Chromes.
To the experts: what would be similar strings soundwise with less tension?
To the experts: what would be similar strings soundwise with less tension?
I love flatwounds - love the supple, silky feel - and the tone. But I also know they pretty much sound the same no matter the brand. They do.
A great video illustrating this is by Ed Friedland
(Some are rounds..). A casual listener wouldn’t hear any difference lol.
A great video illustrating this is by Ed Friedland
(Some are rounds..). A casual listener wouldn’t hear any difference lol.
This is a great video & have referenced it many times. There are differences but they’re subtle. Play what suits your wallet and fingertips!
Unless you find the overly-high tension thing also applies specifically to the low B, I would keep it, sell the other 4 here on TB, replace them with the lightest 4-string (ECB80) or second-lightest set (ECB84 - again, unless the A and E in the fiver set, which have the same gauge as in the 84, were too tight for your taste: in which case, definitely get the 80).
I wonder about the specific gauges, but especially about how old each set was at the time of the recording. The La Bellas in particular seem to be pretty fresh. Conversely, the Fenders and the Thomastiks might not be super-new.
As someone who feels flats really shine about a year into being worn in and the fact I've only been playing a few years, I've got minimal experience with them.
First set was La Bella DTF for the P bass. Then a set of La Bella Golds for the Jazz bass. My third and last set was TI Jazz for the Rickenbacker.
I really like the sound and feel of the La Bellas. The TI Jazz flats are only about four months old and have yet to break in for a final verdict but compared to La Bellas, they're a bit loose and the tone isn't quite what I want but for the price, I'm riding it out and hoping they come to fruition. Hopefully no Stockholm syndrome.
I eventually want to try out Rotosound, Pyramid, and GHS flats.
First set was La Bella DTF for the P bass. Then a set of La Bella Golds for the Jazz bass. My third and last set was TI Jazz for the Rickenbacker.
I really like the sound and feel of the La Bellas. The TI Jazz flats are only about four months old and have yet to break in for a final verdict but compared to La Bellas, they're a bit loose and the tone isn't quite what I want but for the price, I'm riding it out and hoping they come to fruition. Hopefully no Stockholm syndrome.
I eventually want to try out Rotosound, Pyramid, and GHS flats.
The MID voice of aged Ti flat work pretty well on Amp EQ tweak than others flatwound i been use. I can easily call the MID out or hidden it.
Cobalt flat become my all days flatwound bass string , she sound nothing like old school flat , different voice compare to Fender 9050 ,Chrome ECB, even though most nickel round wound bass string . She has the lively juicy and meaty tone along with sparkling upper mid which match well with Dimarzio Model PJ set , Model P alone and Overwound single coil J set. Never lost in band mix , she retain the sparky tone last and the E string never sound thud/boom/muddy !
Cobalt flat become my all days flatwound bass string , she sound nothing like old school flat , different voice compare to Fender 9050 ,Chrome ECB, even though most nickel round wound bass string . She has the lively juicy and meaty tone along with sparkling upper mid which match well with Dimarzio Model PJ set , Model P alone and Overwound single coil J set. Never lost in band mix , she retain the sparky tone last and the E string never sound thud/boom/muddy !
