Flatwounds for Rock

[FullumMusic]

Does anyone use flatwounds for rock? I only have one bass which is set up with La Bella flatwounds for that soul/Motown sound. I am thinking about buying another bass to keep roundwounds on but don’t particularly like the sound or feel of roundwounds. Not gigging at the moment but thinking of starting back and this will be the first time gigging on bass. (30 yrs as a guitarist). Could I pull this off or do I need to get the second bass?

The bass you have with the La Bella Flats will has the ability to make many different styles of music, from Soul to Motown to Rock and beyond. I use my P with La Bella flats to make dance & live electronic music too. You don't need a special bass with a special set of different flatwounds to play rock.

John Paul Jones played a Jazz with flats sometimes. Carol Kaye played flats. Paul McCartney played Flats and Tapes. Steve Harris; Geezer Butler... The majority of the Rock bassists from the 1960s was still using flats, and plenty into the early 70s. Tons of big name rock musicians played flats, and plenty used La Bella on a P to boot. Maybe these players didn't use flats exclusively their entire career, but they used them.



That said, just because you don't need a whole new bass to play rock doesn't mean you shouldn't get another bass for the sake of having multiple basses.

 

[dbflats]

All the bass players we like have "their own sound", they're not musical chameleons.

It's cool to take notes from those we admire or those who are more experienced but in the end, it's what goes on in your ears...and that meat space in-between, that matters.

 

[OnlyFlats]

Play the bass and the strings that you like.

Since your playing with a pick, consider throwing some overdrive pedals into your setup. I find drive works great on pick played flats, and can help them sound more like round wounds.

Plenty to discover in the Effects sub forum.

 

[Luckydog]

Lots of players played flats in rock. Lots of that happened in the 60s and 70s. And lots of things have changed since then in terms of the capabilities of the recording methods, sound reinforcing equipment, how rock is presented, eq’d and expected to sound like to listeners now.

When I saw the Stones in the early 60s in a large coliseum, PA systems weren't anything close to what they are today. The audience could actually hear stage amps! Wow, what a concept! You could actually hear the articulation from Bill Wyman’s bass…from his short scale basses and amp. This was prior to the Stones’ use of SVTs in Ampeg’s new push with the band.

I think with today’s live sound systems, eq’d by people with different aural expectations, it will be harder (not impossible) to translate that flatwound sound to large audiences who are more familiar with current rock concerts (at least indoors). If you are an A-list bassist, I’m sure you would receive major accommodations to get a good, tight, articulate sound with flats…but I would expect the majority of us don't get that level of special treatment. I normally only use flats where I know I can have at least some control over how it will sound out front…those cases usually being smaller more intimate indoor venues, or large outdoor venues where (at least to me), it is easier to sculpt my sound, and where sometimes that big flats sound can be more easily heard.

 

[higain617]

I don't like the feel of flats, but have used Roto 77 with good results.

 

[pyrat56host]

Using Fender flats after years of using Rotosound SwingBass rounds and no complaints from the boys I've played w/ for 35 years!

 

[eldorado2001]

All flats, all the time, they work for all types of music.

 

[GrapeBass]

Another session/practice with my SBMM Joe Dart wrapped w/the factory installed EB Group 2.5 flats.

This particular band plays a wide assortment of musical genres, reggae, soca, r&b, soul, funk, classic rock, old school rock, contemporary rock and even some disco-leaning tunes. All sounded excellent with these flats on this bass even though there was a few occasions the crispiness and growl of rounds might have been more suited. Depending on the gig and logistics I'd carry two basses wrapped with the two types of strings. For gigs/events that I'd only need one bass, I'll decide on the fly, not to commit too much LOL

 

[drpepper]

I guess I could get murdalized here for my views, but at least as far as Fender 7250 roundwound and 9050 flatwound go (which is admittedly my only experience with flats) I don't think they actually "sound" any different per se. That is, while I think each can go places the other can't or doesn't readily go (e.g., more prominence of certain sound qualities, differences and nuances of pick playing, slap, fret and finger noises, etc.), the larger part of how a given bass of yours is going to sound, especially in the context of live performance vs recording, is going to come down to your personal style, your hands, your touch, your attack, action and relief preferences and (huge) tone/EQ settings.

I made this video when changing a P bass over from 7250s to 9050s, so the 7250s were used but newish (maybe a cpl/few weeks). I played and recorded the same thing (an Eagles line I was learning at the time) with the same settings and then cut back and forth between them about 10 times at fairly random spots. On the first playback for the video, I covered the tracks, so the points where it changes from one string to the other can't be seen, and it sounds like one pass with the same strings to me. I then ran the playback with the tracks uncovered, and seeing the points that it changes, it still sounds like one pass with the same strings.



The takeaway of my own comparisons for myself is that which one feels better in a given circumstance is what matters. I play almost entirely finger-style, covers, mostly middle-of-the-road type sounds.

A couple more...these are 9050s on an Am Pro II a year plus being used for rock tunes. Both are cell phone videos, so what's being heard is completely on what the the sound engineer chose, not anything I did to it. But to me, that further brings home the point that in this context, the string choice is almost irrelevant to what's being heard out front. Unfortunately the bass level is also on foh's preferences, but focusing in, I can even hear hear little bits clack and finger noise on the indoor one.

 

[GrapeBass]

I guess I could get murdalized here for my views, but at least as far as Fender 7250 roundwound and 9050 flatwound go (which is admittedly my only experience with flats) I don't think they actually "sound" any different per se. That is, while I think each can go places the other can't or doesn't readily go (e.g., more prominence of certain sound qualities, differences and nuances of pick playing, slap, fret and finger noises, etc.), the larger part of how a given bass of yours is going to sound, especially in the context of live performance vs recording, is going to come down to your personal style, your hands, your touch, your attack, action and relief preferences and (huge) tone/EQ settings.

I made this video when changing a P bass over from 7250s to 9050s, so the 7250s were used but newish (maybe a cpl/few weeks). I played and recorded the same thing (an Eagles line I was learning at the time) with the same settings and then cut back and forth between them about 10 times at fairly random spots. On the first playback, I covered the tracks, so the points where it changes from one string to the other can't be seen, and it sounds like one pass with the same strings to me. I then ran the playback with the tracks uncovered, and see the points that it changes, it still sounds like one pass with the same strings.



The takeaway of my own comparisons for myself is that which one feels better in a given circumstance is what matters. I play almost entirely finger-style, covers mostly middle-of-the-road type sounds.

A couple more...these are 9050s on an Am Pro II a year plus being used for rock tunes. Both are cell phone videos, so what's being heard is completely on what the the sound engineer chose, not anything I did to it. But to me, that further brings home the point that in this context, the string choice is almost irrelevant to what's being heard out front. Unfortunately the bass level is also on foh's preferences, but focusing in, I can even hear hear little bits clack and finger noise on the indoor one.

I've found that flats take a while before they settle, break-in period could be months. I do have experience with the 9050Ls on a few of my basses (fretless J + fretted J). The initial similarities may mean the core of the strings are the same. Have you heard a change as time went on using the flats?

Live FOH is definitely it's own ballgame vs recording direct (as an example). I find the subtleties of the bass matter most to the player and are more of a 'feeling,' rather than a discernable difference with the audience.

Thanks for the samples, I find them helpful.

 

[drpepper]

I've found that flats take a while before they settle, break-in period could be months. I do have experience with the 9050Ls on a few of my basses (fretless J + fretted J). The initial similarities may mean the core of the strings are the same. Have you heard a change as time went on using the flats?

Live FOH is definitely it's own ballgame vs recording direct (as an example). I find the subtleties of the bass matter most to the player and are more of a 'feeling,' rather than a discernable difference with the audience.

Thanks for the samples, I find them helpful.

Sorry, I don't think I can give any accurate gauge of the change in the sound of the 9050s over time...they're on that particular bass 3 and a half years maybe and I don't pick it up and say "Wow, these sound different than they did at x point in time"

And yes, we all come with different things in the front of our minds (and my pov is as a for-profit hobby/weekend cover band player), and if this thread was specifically about studio work, I would have remained silent. Even if it had been about some specific strings, I would have remained silent.

But a guy who's looking at getting back into gigging (says he doesn't like the feel of roundwounds) and is wondering if he might need to get another bass to put roundwounds on in order to be able to play rock? That is what I felt some of my experiences with it apply to.

 

[edmidlifecrisis]

Sorry, I don't think I can give any accurate gauge of the change in the sound of the 9050s over time...they're on that particular bass 3 and a half years maybe and I don't pick it up and say "Wow, these sound different than they did at x point in time"

And yes, we all come with different things in the front of our minds (and my pov is as a for-profit hobby/weekend cover band player), and if this thread was specifically about studio work, I would have remained silent. Even if it had been about some specific strings, I would have remained silent.

But a guy who's looking at getting back into gigging (says he doesn't like the feel of roundwounds) and is wondering if he might need to get another bass to put roundwounds on in order to be able to play rock? That is what I felt some of my experiences with it apply to.

Another option could be GHS Pressurewounds which are sort of in between rounds and flats in terms of feel and sound. I have used them for years and like them. A couple of my basses cried out for rounds or flats but these are pretty nice in-bewteens (my principal basses are P basses). They might work for you. They aren't excessively expensive and come in long, medium and short winds. I only play live and no studio work BTW so couldn't speak for that.

 

[Low Commotion]

My suggestion is to play what you like and try not to get too concerned with the type or make of strings that you have on your bass. If it sounds good to you and you like how they feel and play, then you’re good.

One type or make of string doesn’t always sound good on every bass. I would bet that most people wouldn’t even notice what type of string you have on your bass, especially in a band setting. I was out on the weekend and caught a classic rock act and talked to the bass player at the end of the night. I was surprised to see that he had flats. And I play basses that have rounds and basses that have flats in a band.

There are some good suggestions here on the different flats, so use this as a guide if you want to change, but if you’re happy with what you have, then keep them

 

[FenderP]

The Roto Flats that come with the Steve Harris P-Bass? Very heavy gauge signature SH77LDs. Even stiffer than the regular RS77LDs. Which are the poster child for "Bridge cables". The La Bella 1954 "Traditional" flats are a close second. I've had the Roto RS77LD's on my '78 Fender P-Bass; I liked them, but... not the sound I was looking for. They worked much better on my '18 Gibson Thunderbird... And yes, I pretty much h

The SH set is a variant of the RS77LE not the LD. The 77LE is my favorite string of all time. The SH variant has similar tension, but to me the feel is slightly different. The silks are different and supposedly that is the only difference with the 77LE, but my fingers say otherwise.

 

[Prodigus Filius]

The SH set is a variant of the RS77LE not the LD. The 77LE is my favorite string of all time. The SH variant has similar tension, but to me the feel is slightly different. The silks are different and supposedly that is the only difference with the 77LE, but my fingers say otherwise.

If you look at the tensions via the Rotosound 77 sets page , the tensions are the same for the strings in both the Harris and Heavy sets, except for the 75 in the Harris set. It is given as 60.92 and in the Heavy set as 70.92. But clearly the 75 tension spec of 60.92 for the Harris 75 is a goof up . The correct tension of 70.92 is listed here Tension comparison chart for Rotosound guitar and bass strings

I have read the claim that the Harris set is more polished ( on TB somewhere I think). I spose if they were more polished that could account for a dif feel to them were it true. But mostly I’ve read they are indentical cept for the silk colours.

 

[FenderP]

If you look at the tensions via the Rotosound 77 sets page , the tensions are the same for the strings in both the Harris and Heavy sets, except for the 75 in the Harris set. It is given as 60.92 and in the Heavy set as 70.92. But clearly the 75 tension spec of 60.92 for the Harris 75 is a goof up . The correct tension of 70.92 is listed here Tension comparison chart for Rotosound guitar and bass strings

I have read the claim that the Harris set is more polished ( on TB somewhere I think). I spose if they were more polished that could account for a dif feel to them were it true. But mostly I’ve read they are indentical cept for the silk colours.

They do feel polished/smoother and closer to the Labella Jamerson or Dunlops (the 50-110) than the regular RS77LE set. It is weird if you are used to playing the 77LE.

 

[Prodigus Filius]

They do feel polished/smoother and closer to the Labella Jamerson or Dunlops (the 50-110) than the regular RS77LE set. It is weird if you are used to playing the 77LE.f

See post #534 about polishing.

https://www.talkbass.com/threads/d-standard-club-dgcf.1190032/page-27

 

[FenderP]

See post #534 about polishing.

https://www.talkbass.com/threads/d-standard-club-dgcf.1190032/page-27

Thanks. Aside - The silks are not insanely different. Two are blue (different) and two are the Roto red/orange which is normal.

 

[Yahboy]

EB Cobalt flat 50-105 or 55-110 with aggressive pick playing, of cause P bass must have !!!!!

 

[dbsfgyd1]

Does anyone use flatwounds for rock? I only have one bass which is set up with La Bella flatwounds for that soul/Motown sound. I am thinking about buying another bass to keep roundwounds on but don’t particularly like the sound or feel of roundwounds. Not gigging at the moment but thinking of starting back and this will be the first time gigging on bass. (30 yrs as a guitarist). Could I pull this off or do I need to get the second bass?

I don’t see why you couldn’t. It really comes down to a matter of personal taste/preference. I’m a long time rounds user myself, but I can rock with flats. Maybe a slight tweak to an EQ going from one to the other. But frankly, I think rock is more about how you play that what you sounds like. For instance, I think McCartney is a rock bassist. Bill Wyman is a rock bassist, Both used flat wounds. It’s the anybody going to sayJohn Entwistle is not a rock bassist?

So my advice is just find a set of strings and if you don’t like them after a significant work out, get a different set. I know this may be heresy, but it’s ok to change strings. They aren’t a lifetime commitment.

Best wishes.