• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join free Log in
    Want zero display ads or expanded classifieds tools? Compare plans.

Flatwound Roundtable.

#2
Is it just me or are the only strings that sound different in that test the Fender 9050's?

I was sort of amazed at the fact that they all sound kind of similar.

If I had heard all the clips in their entirety without knowing anything.......I would probably have thought it was the same strings used throughout the entire production.
I know purists will detect subtle differences though.......
 
  • Like
Reactions: physics
#3
I think that may be because the tone control was used...I REALLY appreciate the time and effort put into this, and would love to have had a recording with the tone wide open. Often, the differences show up more with more treble. But thanks SO much Jon, for these recordings!
 
  • Like
Reactions: Linnin
#4
ZenG said:
Is it just me or are the only strings that sound different in that test the Fender 9050's?

I was sort of amazed at the fact that they all sound kind of similar.

If I had heard all the clips in their entirety without knowing anything.......I would probably have thought it was the same strings used throughout the entire production.
I know purists will detect subtle differences though.......
Click to expand...
Most flats do sound similar. The outliers in my experience have been TI flats, Chromes, and now EB Cobalt Flats. The big differences between the rest have been in tension/stiffness and smoothness.
 
#5
ZenG said:
Is it just me or are the only strings that sound different in that test the Fender 9050's?

I was sort of amazed at the fact that they all sound kind of similar.
Click to expand...

That's interesting to hear, as you're probably the first person I heard say that (and I let some people hear the track without telling them what I did). If you listened with a pair of laptop speakers, I'd recommend trying a set of headphones.

But then again, if you can't hear a difference, then for you it may not matter what flatwounds you grab, as long as you like the sound in general.


tallboybass said:
I think that may be because the tone control was used...I REALLY appreciate the time and effort put into this, and would love to have had a recording with the tone wide open. Often, the differences show up more with more treble. But thanks SO much Jon, for these recordings!
Click to expand...

Believe it or not, but with the tone wide open the differences were subtle at best, which is why I didn't do it. I put the tone control at the spot which I thought would best grab the warmth of the flats without being too muddy. Could've done some more things and different tone spots, but sadly didn't have the time.
 
#6
ZenG said:
Is it just me or are the only strings that sound different in that test the Fender 9050's?
Click to expand...

I hear the subtle differences between each set. I like how Jon chose to put the Chromes and Fenders back-to-back. You can really hear distinct tonal differences there. I also liked how Jon also chose to put GHS Precision flats side-by-side with LaBella Deep Talking Flats. For those on the fence that should help you make a well informed choice. Of course I'm in love with GHS P-Flats.

ZenG said:
I was sort of amazed at the fact that they all sound kind of similar.
Click to expand...
Why? Don't all roundwounds "all sound kind of similar"? They do, don't they?
 
#8
All interesting. And, by and large, there are, to me, few differences in any string, flatwound or roundwound when on the same bass with the same settings. Maybe more finger noise with rounds, and a touch more "bite", but not tons.

I recently went to La Bella Low Tension flats because i have a hard time getting TI's and wanted something with this type of guage. i was surprised that they are very classic flat, although because of their low tension and lightness you can slap them more.

This was a good comparison, so you can tell in general the differrences in manufacturer and tone.
 
#9
Linnin said:
In my experience with Precision split pick-ups, a wide open tone control only exacerbates finger noise and string noise. The real meat of the tone being a quarter to a half open, so I am very glad that Jon didn't run his tone wide open.
Click to expand...
My P must be quite a bit darker than yours, I can't back off the tone at all in a live mix without losing definition in the upper mids.
 
  • Like
Reactions: Linnin
#10
062p1_zps1e1a43be.jpg
tallboybass said:
My P must be quite a bit darker than yours, I can't back off the tone at all in a live mix without losing definition in the upper mids.
Click to expand...
I turned mine into an assualt bass in the mid 80's. I never lose anything. Anywhere.
080p1_zpsf11721b3.jpg
 
Last edited:
  • Like
Reactions: Heavy Blue
#17
As a devoted flats user, I appreciate the effort and comparisons that Mr. Moody has presented. Yet in the bass community, TI Jazz flats are often very well regarded and considered by many to be the flatwound. I would have loved to see those strings included. I know he can't test them all (would also love to have heard his thoughts on Sadowsky Flats), but to leave TI's out makes this roundtable, IMHO, incomplete at best.

I'd love to see a follow up in 6 months with the same strings (+TI's). 2 weeks of break in is not really enough time to 'release the Kraken' from the strings....
 
#18
G On Bass said:
As a devoted flats user, I appreciate the effort and comparisons that Mr. Moody has presented. Yet in the bass community, TI Jazz flats are often very well regarded and considered by many to be the flatwound. I would have loved to see those strings included. I know he can't test them all (would also love to have heard his thoughts on Sadowsky Flats), but to leave TI's out makes this roundtable, IMHO, incomplete at best.
Click to expand...

Thanks for the words. A couple of things to consider.

I left TIs out because I funded the whole thing - sans the LaBella flats - myself. I contacted a couple of other companies about this, and while they all appreciated the thought and the inclusion, were maybe leery of giving someone that works for their competitor a set of strings to write an article? Who knows. So yeah, TIs are expensive, and so are the Pyramid ones which are why they weren't used.

TIs may be the flatwound on Talkbass, but from talking with many players who aren't on here, it isn't as much the case (for the same reasons I posted above).

I also wanted to focus more on the most easily attained flats, as in if you walked into a store, those are the ones you're going to be able to find on the shelf. With that, I was hoping to be able to get a set of the EB Cobalt Flats to include, but at the time of procuring everything they were extremely hard to find. I'm more upset about not trying out the Cobalts over the TIs, truthfully.

Maybe I'll grab a set of the Sadowsky just for my own edification.


G On Bass said:
I'd love to see a follow up in 6 months with the same strings (+TI's). 2 weeks of break in is not really enough time to 'release the Kraken' from the strings....
Click to expand...

That would be great, however I have neither the time or the strings (sold them via TB to help recoup some of the expense) to attempt that, as we're talking years at that point. If you read the disclaimer, while I know that 2 weeks isn't enough, it still is a decent start to figure out the character of the string and get a good idea of where they're going to go tonally and mature.

It's also much easier to do your best to ensure that all sets of strings have gotten the same amount of playing time, whether in rehearsals or gigs. Since my gigging schedule is usually feast or famine, any attempt to keep the same amount of playing time on a set of strings over a six month span at a time would've been impossible. Too many factors.
 
#19
I too really appreciate the time and effort that went into putting that out there. Thanks Jon, very helpful in so many ways. For me it only reinforced my previous position..GHS Precision Flats are "close" to perfect for me :D. I really like the explanation provided as well. The aptly described "air" with the GHS P Flats is IMO what gives them an articulation that other flats lack, for me. Also listening closely to the tracks brings me back to a question that I've always pondered, How does one consider Chromes to be bright?? I just don't hear it. I hear the Fenders as being much brighter- if any flatwound can be labeled as bright. Different ears = different take :thumbsup:
 
  • Like
Reactions: Linnin

Latest posts

Top Bottom
Back