+1 on the EB Flats, best ones for me so far, really smooth and tension is just fine. Chromes aren't bad, just too trebby for my taste
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Flatwound Dilemma
- Thread starter Bassic Playing
- Start date
+1 on the EB Flats, best ones for me so far, really smooth and tension is just fine. Chromes aren't bad, just too trebby for my taste
I'm a fan of Ernie ball rounds, the nickels and the cobalts (even though so many hate them). Do EB flats have silk on them? I'm not a huge flat player. I only have a set (chromes) on my '51 RI, and I hate the blue silk. Anyone make silk-less flats?
Thanks very much. The tension you're describing sounds ideal.
if you want tension, REAL smooth feel and a big sound, LaBella 0760M, the "Jamerson" flats. 52-73-95-110, stainles steel but glass-smooth, awsome sound.
JPJ on the first two albums of Led Zeppelin used them (not the Jazz 77... is a false rumor), before switching to Roto Swing 66 for Led Zeppelin III.
I have lots of samples, if you wantask me in PM
I'll have a look. I've always been under the impression that La Bella flats are your classic all-thump and no sustain and sing kind of string, perhaps I have the wrong idea though?
Thanks so much guys, you've been really helpful as always. I'll definitely be trying out a few of your suggestions. Strings are hard to come by at a reasonable price in Oz, so I guess I'll be getti
Bassist4Eris
Frat-Pack Sympathizer
If the OP likes the stiffness of the Rotos, he/she should be able to handle the Chromes.
I have the LaBella Deep Talkin Flats on my P-bass. Even after two years, they have some top end, and they do sustain. Those characteristics ("all-thump and no sustain") are overstated, IMHO.
You're out of luck with EBs, they also have blue silk, I know is a matter of taste, but I really like the look of silked strings on the head...
that's what I thought before trying them. they have a rich sound, good sustain and perfectly defined fundamental, keeping a "steel vibe" on the high frequencies.
probably this thought depends on the fact that we are used to ear those strings from recordings from the 60's (jamerson, dunn, cogbill...), when they were usually muted with foam in the bridge cover.
here they are after a month and a half: https://www.dropbox.com/s/pjkliuufro2d9ew/Grease - P50 LaBella - nuovo.wav Precision Classic 50's stock.
here brand new, compared to three years old TIs: https://www.dropbox.com/s/jrs9oeo73pfy1bk/P50 vs Piercision.zip
playing more modern music they sustain with any problem, and I use them even for some tapping, when needed, ora a bit of slapping.
they are even the smoothest strings I've ever had... they make Chromes feel rough.
Sorry to bump this up again, but a couple of the replies and things I've read since have left me confused about something. My Steve Harris Rotosounds flats are NOT smooth, by any definition. They are extremely grippy, making even short slides difficult. But from what I've read, most people have found them to be super smooth. Is it likely that there is just something wrong with my set? Bear in mind that they have been on there for 6 months and played regularly.
EDIT: Also, anyone used EB flats? They seem like a pretty ignored by very affordable option. Smooth tone? Enough mid punch to support a mix?
EDIT: Also, anyone used EB flats? They seem like a pretty ignored by very affordable option. Smooth tone? Enough mid punch to support a mix?
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- Mar 11, 2010
- 244
- 18
- Disclosures
- Endorsing Artist: Höfner, Pyramid Strings, Dr. No FX & Asterope cables
Having tried most strings mentioned here, and I'm endorsed by Pyramid (wich I love : ) I can say that the most smooth strings that sound just like the Rotosounds are the LaBellas.
They are both stainless steels in essence, unlike the Chromes for example making them differ sonicly. Btw; I found 2 sets of Roto's to be slightly different in their feel, so it's possible your set is rougher than what's standard.
They are both stainless steels in essence, unlike the Chromes for example making them differ sonicly. Btw; I found 2 sets of Roto's to be slightly different in their feel, so it's possible your set is rougher than what's standard.
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I use ernie ball flats, i was turned on to them by fellow member bassfreakah.
I have a custom set of 40/60/75/95, 50/70/85/105, 45/65/80/100, and the big boy set of 55/75/90/110
They are fantastic strings, plenty of mid punch with a very fat rich smooth tone. At first i though them to be blah but after they break in they turn fantastic.
I like that even on the heavier strings while with tension they still have good flexibility.
People say things like they are rebranded chromes which is a lie, they are nothing like them except for the colour of silk ends.
I can spare a set of the 55/110 cut for a p bass but since your in austraila i have no idea what the cost would be for that or time shipping.
Although they are not glass smooth, they are smoother than most.
Im just so glad i gave them the time to break in and show me what they can be.
All just my 2 cents.
usually Rotosounds are rough, with a lot of "space" between the windings, so they are not "smooth".
LaBellas look like this (zoom in ) https://plus.google.com/photos/1038...6008799746597753986&oid=103855957966086773281
sliding your finger on them you can't feel the windings, they are glass smooth.
Rotosound look like this: [Invalid or Expired Link Removed]
Invalid Link Removed
you feel every winding.
Chromes are "half way" between these two, smooth but not that much. after playing with La Bella, my bass strung with Chromes feels rough... even the E and A string from the Thomastik JF344 set feel rough!
hear those beasts: https://www.dropbox.com/s/3fq5eiejd8kzdf1/Grease - You're The One That I Want - P50 LaBella.mp3
(bass track recorded by me, with the Precision Classic 50's strung with LaBella Jamerson, a month and a half old, finally "settled in", on the original track equalized to take off the bass a bit (in this track the bass is pretty in front of the mix)).
I'm on the idea that if you buy them, you won't regret, and stick to them. with other flats I've always needed to find the "compromise" with some aspects, like sound, feel and setup. these La Bella are perfect... they are "THE" flatwounds.
LaBellas look like this (zoom in
) https://plus.google.com/photos/1038...6008799746597753986&oid=103855957966086773281sliding your finger on them you can't feel the windings, they are glass smooth.
Rotosound look like this: [Invalid or Expired Link Removed]
Invalid Link Removed
you feel every winding.
Chromes are "half way" between these two, smooth but not that much. after playing with La Bella, my bass strung with Chromes feels rough... even the E and A string from the Thomastik JF344 set feel rough!
hear those beasts: https://www.dropbox.com/s/3fq5eiejd8kzdf1/Grease - You're The One That I Want - P50 LaBella.mp3
(bass track recorded by me, with the Precision Classic 50's strung with LaBella Jamerson, a month and a half old, finally "settled in", on the original track equalized to take off the bass a bit (in this track the bass is pretty in front of the mix)).
I'm on the idea that if you buy them, you won't regret, and stick to them. with other flats I've always needed to find the "compromise" with some aspects, like sound, feel and setup. these La Bella are perfect... they are "THE" flatwounds.
Thank you, that was very interesting. And nice playing! I feel like I'm about to embark on the same flatwound quest that I did with rounds a few months ago :/ Not an enviable journey as a student
ahah, I know, it's really expensive! since I discovered my love for flats, I've tried Chromes, Rotosound, Fender, LaBella, Pyramid and Thomastik.
as I said answering your first post, I'd go straight with LaBella 0760M, to be sure. they are "The" flats heard on countless records, and still the most used worldwide.
usually when I'm looking for a specific sound, in particular if clean and knowing the used bass, the first thing I look at is strings.
usually when I fall in love with a particular sound, knowing wich bass was used, I figure out the strings and try them.
for example, my love for Thomastiks started three years ago: I was listening to "Try!" by John Mayer, the live album with Pino Palladino: a Precision with those Thomasik flats.
I bought them and fell in love with their sound, their feeling, and since March 2011 they are still on my headliner Precision: here's an example:
then I found out that Paul McCartney sticked to them after years of research for the strings to use with his Rickenbacker, because he claims that they are the only strings giving him the sound he had back in the 60's with the Maxima flats (discontinued in the 70's). being pure nickel wrapped and with low tension, they can give exactly that "rubberish" sound Paul had in albums like Revolver, Rubber Soul, Sgt Peppers...
another love of mine was the sound from John Paul Jones, and with him there were James Jamerson, Donald Dunn, Joe Osborn, Carol Kaye, Paul Simonon (since London Calling), John Illsley (on the firs two Dire Straits albums), Tommy Cogbill and Garry Tallent; I found out that they share(d) the same set of strings, those thick LaBella flatwounds now known as "the Jamerson set", the "Original 1954". I had to try them, but I feared the gauge, being used to the slim TIs...
so before falling in love with them, I've tried many times the Chromes, then the Rotosound, the Pyramid and the (new) Fender, but it wasn't "that" sound.
a month ago I decided to try them, and now this Precision string with LaBella is my main bass for everything, from live shows to recordings...
it all depends on the sound you are searching for, and since you cited John Paul Jones, I guess you should try them:
they sound exactly this way on a Jazz Bass.
here's another example on a Jazz, played with a pick:
as I said answering your first post, I'd go straight with LaBella 0760M, to be sure. they are "The" flats heard on countless records, and still the most used worldwide.
usually when I'm looking for a specific sound, in particular if clean and knowing the used bass, the first thing I look at is strings.
usually when I fall in love with a particular sound, knowing wich bass was used, I figure out the strings and try them.
for example, my love for Thomastiks started three years ago: I was listening to "Try!" by John Mayer, the live album with Pino Palladino: a Precision with those Thomasik flats.
I bought them and fell in love with their sound, their feeling, and since March 2011 they are still on my headliner Precision: here's an example:
then I found out that Paul McCartney sticked to them after years of research for the strings to use with his Rickenbacker, because he claims that they are the only strings giving him the sound he had back in the 60's with the Maxima flats (discontinued in the 70's). being pure nickel wrapped and with low tension, they can give exactly that "rubberish" sound Paul had in albums like Revolver, Rubber Soul, Sgt Peppers...
another love of mine was the sound from John Paul Jones, and with him there were James Jamerson, Donald Dunn, Joe Osborn, Carol Kaye, Paul Simonon (since London Calling), John Illsley (on the firs two Dire Straits albums), Tommy Cogbill and Garry Tallent; I found out that they share(d) the same set of strings, those thick LaBella flatwounds now known as "the Jamerson set", the "Original 1954". I had to try them, but I feared the gauge, being used to the slim TIs...
so before falling in love with them, I've tried many times the Chromes, then the Rotosound, the Pyramid and the (new) Fender, but it wasn't "that" sound.
a month ago I decided to try them, and now this Precision string with LaBella is my main bass for everything, from live shows to recordings...
it all depends on the sound you are searching for, and since you cited John Paul Jones, I guess you should try them:
they sound exactly this way on a Jazz Bass.
here's another example on a Jazz, played with a pick:
"another love of mine was the sound from John Paul Jones, and with him there were James Jamerson, Donald Dunn, Joe Osborn, Carol Kaye, Paul Simonon (since London Calling), John Illsley (on the firs two Dire Straits albums), Tommy Cogbill and Garry Tallent; I found out that they share(d) the same set of strings, those thick LaBella flatwounds now known as "the Jamerson set", the "Original 1954"."
I thought the flats that these folks used primarily were-
JPJ: Roto 77
Duck Dunn and Carol Kaye: old Fender 9050 (later TI for Kaye)
Not to say they didnt use the heavy Jamersons at some point...I just never associated them primarily with them. I use the FL set and it is very very nice, and certainly doesnt lack top end as many people think. In fact the 760's have more actual top end than the TI's which are a middier string. both sets are very nice. I have 760FL on a p bass and TI on a jazz.
I thought the flats that these folks used primarily were-
JPJ: Roto 77
Duck Dunn and Carol Kaye: old Fender 9050 (later TI for Kaye)
Not to say they didnt use the heavy Jamersons at some point...I just never associated them primarily with them. I use the FL set and it is very very nice, and certainly doesnt lack top end as many people think. In fact the 760's have more actual top end than the TI's which are a middier string. both sets are very nice. I have 760FL on a p bass and TI on a jazz.
JPJ used the LaBella (being a fan of Jamerson's bass playing), and then switched to Roto Swing66 for "Led Zeppelin III". he is not even cited on the Jazz77 page from Rotosound website.
even John Entwistle used the LaBella before the Swing66.
Dunn used the LaBella since his death, and is well known is love for the 52-110. I'm a huge fan of Dunn, is my favourite bass player
Carol says that in the 50's/60's she used the "medium gauge flats", and in those years the 52-110 Labella set was the medium.
as far as I know fender 9050 came out in the 70's (but I may be wrong about that). maybe Carol used them in those years, I'm not sure of that. for the others I could bet my hands
even John Entwistle used the LaBella before the Swing66.
Dunn used the LaBella since his death, and is well known is love for the 52-110. I'm a huge fan of Dunn, is my favourite bass player
Carol says that in the 50's/60's she used the "medium gauge flats", and in those years the 52-110 Labella set was the medium.
as far as I know fender 9050 came out in the 70's (but I may be wrong about that). maybe Carol used them in those years, I'm not sure of that. for the others I could bet my hands
The old Fender flats were made by V.C. Squier in Battle Creek, MI. They made a lot of strings for a bunch of different instrument munufacturers. Leo Fender eventually bought Squier. After C.B.S. bought Fender they shut down the Squier string factory in Michigan and moved production to California only to shut that down too. It is widely suspicioned that todays Fender bass strings are sourced from D'Addario. However Fender Flats are different than just repackaged Chromes.
As everyone here knows, I've come to adore GHS Precision Flats.
As everyone here knows, I've come to adore GHS Precision Flats.
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Man, you guys really know your flats. At present, I'm going to go with some EB flats, courtesy of the kindness of shawshank72. They sound like just the ticket, and not many flats come to that gauge it seems.
You will love them. Just have to play the international shipping waiting game now eh? lol
You will love the low action you can get with the 55/110 set.
Hey silly question, while I was searching the forums for strings, does anyone own a Rickenbacker 4003 with Rotosound Steve Harris Strings on it? If so how is the sound?
