piezo pickups are deadly on this fretless, but enjoying these strings, especially with my sloppy fingers. They are smooth. They definitely have a unique sound.
(Look cool too IMHO)
Still using "chromes" on my other basses.
Enjoy the benefits of a premium membership!
Upgrade Account
-
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.
Flatwounds, Really?
- Thread starter howlin
- Start date
piezo pickups are deadly on this fretless, but enjoying these strings, especially with my sloppy fingers. They are smooth. They definitely have a unique sound.
(Look cool too IMHO)
Still using "chromes" on my other basses.
It's only kool-aid on Talkbass. I was using them before I knew there was a Talkbass and had to try a few to settle on what I think is my favorite. Nothing wrong with realizing it's not your thing, but plenty of folks know what they like and make recommendations based on that. It's up to you to decide whether they work for you. I find most pressure wounds to be the complete opposite of what I want out of a bass string in both feel and tone...for me they're the worst of both worlds rolled up into one. That's not kool-aid, just my opinion.
I don't like flats or GHS strings. So there's that.Okay, so, I've been on & off the "flatwounds on your P bass wagon" for well over 4 years. Started out with LaBella FL-760's (?). Went to D'Addario Chromes & their Half-wounds and then on to TI's. Ended up using LaBella Low Tension Flats. All good strings. That said, every time I end up back with GHS Pressurewounds, which is where I am now. To my ears flats always sound best in a studio situation but live MEH.
No matter how I tried: wiping them down pre-gig with alcohol, running steel wool over the strings before putting them on my bass, etc., etc. They always managed to fail one way or another IME. I'm just always amazed how sounds I can get with the PW's. Foam under the strings. Using a pick. Getting slap happy. You name it they're always right there with a tone that I always find useable. I guess its just a matter of what works for you but, right now, I feel like the kool-aid has warn off, if you what I mean . . .
To me both just sound like dead rounds.
Been wondering, I always hear that bass players who tour, heavily, change their strings often.
From before every gig, to every couple of days, to whatever.
What do touring flat players do? All this talk of leaving flats on forever, etc.
Yes, I know Steve Harris uses flats. Just wondering, not a dig.
Actually Steve Harris uses the brightest flats I have ever tried (Rotosound) and changes them for every show.
Okay, so, I've been on & off the "flatwounds on your P bass wagon" for well over 4 years. Started out with LaBella FL-760's (?). Went to D'Addario Chromes & their Half-wounds and then on to TI's. Ended up using LaBella Low Tension Flats. All good strings. That said, every time I end up back with GHS Pressurewounds, which is where I am now. To my ears flats always sound best in a studio situation but live MEH.
Okay - you're ready to stop screwing around? Get yourself a set of Thomastik Jazz Flats and your quest for the best sound and feel will be over. Yeah - they cost a pretty penny and you won't find them at GC or your lical guitar store. But everyone I know that uses them won't use anything else. They're miles better.
No matter how I tried: wiping them down pre-gig with alcohol, running steel wool over the strings before putting them on my bass, etc., etc. They always managed to fail one way or another IME. I'm just always amazed how sounds I can get with the PW's. Foam under the strings. Using a pick. Getting slap happy. You name it they're always right there with a tone that I always find useable. I guess its just a matter of what works for you but, right now, I feel like the kool-aid has warn off, if you what I mean . . .
Love the thump, the fact they're the original bass strings and that I suffer with sweaty hands.... round die very fast, the sweat only adds to the goodness of flats 
.
I have to disagree with them sounding 'meh' live. There's something about flats round just don't have, live or recorded.
.I have to disagree with them sounding 'meh' live. There's something about flats round just don't have, live or recorded.
Yeah, I agree rounds doesn't sound 100% like piano played in the lower register (even though fresh RS66 strings played with a pick comes pretty darn close). I was just trying (badly) to make a point about me prefering the feel and sound of flats over rounds. And I think that you have more versatility within the flat category than some might think, when it comes to feel and sound, too. But yeah, in the end, it's all down to your preferences, of course.
The sound guy in me would like to add that you can make all kinds of basses and strings work live if you have 1) band mates that agree that the goal of the band is to sound good _together_ , 2) a decent sound guy, and 3) a little bit of time to dial in the sound. Whether you have dead, bassy flats or hi-fi, crystal clear rounds played with a pick, a decent sound guy can always find a way to match up the different instruments (and frequencies) to each other. So the saying "flats studio, rounds live" isn't necessarily true. If I do sound for a band with double bass, I make sure that it's got its own sonic space, by cutting those same frequencies in the bass drum, floor tom, bass trombone, baritone sax, piano, whatever else is being miced up. Etc. But that's a different topic, I guess!
I've always loved the sound of a J with flats - smooth and mellow. But I do have to agree that it's not for every song, or every style.
My one and only J is wearing a set of GHS PWs right now because I do need a round-ish tone out of it for certain things I do.
I'd love to have a second J bass so I can have an option for that "J with flats" tone.
Long time (decades) flats fan here. Had some DR rounds for a while on my J and hated them. Gave them away and went back to flats (fender 9050s). But picked up a set of GHS PWs and I'm sold. Still haven't tried them out in all situations yet, but I think these will be keepers.
Instead of a P bass, I picked up a modern player jaguar which is more or less a passive PJ; I have EMG geezers in it. Still have rounds on that (Labellas). And they sound great.
Although I loved the feel and bedroom tone of the flats on the J, I never was quite satisfied playing out/rehearsing. I think the GHS PW's have been what I've been looking for. Need to get some more time on them to be sure.
I've been fortunate enough to have worked with a few great sound people (two of them pro's, one volunteer) for playing in church. I sometimes drive them crazy because I switch back and forth between my J with PWs and my P with flats almost on a weekly basis. But they somehow seem to be able to make it work.
One of them came up to me one weekend after church and said to me, "You guys sounded great this weekend!" So, I half-jokingly responded, "You do realize you just gave yourself a compliment, don't you? We sounded good, thanks to your great work!" I've learned never to take them for granted.
I would love to do that, but I have always had this thing with playing just one bass. I don't know what it is and it would make more sense to do like you, but I am very monogamous when it comes to instruments. I normally own two, but never play the second one as it is only a backup, even at home. Strange I know, but cheaper at least
One woman.
Many basses.
I may have to give the PWs a try when my new bass comes in. With its unusual pickup configuration it is going to be a different beast so I budgeted a couple hundred for trying different strings. These just may turn out to be a do all string on that bass.
Let me go down the list:
Fender P Bass Special "Cowpoke": GHS Precision Flats
Ibanez SRX705: GHS Precision Flats
EB SUB Ray 5: GHS Precision Flats
Ibanez SR506: GHS Precision Flats
Dean Exotica Ash AEB: D'Addario tapewounds
Ibanez SRF705 Portamento: D'Addario Chromes (factory set)
Hofner Club 500/2: TI Jazz Flats
Hofner Ignition 500/1: Pyramid Flats
Squier Cabronita: EB Cobalt Flats (very bright, an experiment)
Squier CV 70s P Bass: GHS Precision Flats
For what I do, this is what works.
Many used and just about all new instruments I've acquired have come strung with some generic flavor of roundwound string, which never seems to feel or sound right. I used to play rounds all the time, especially through the late 1980s and 1990s. Things changed when I started getting calls to record and strung one of my basses with Rotosound flats just to have an alternate sound standing by if needed. That sound eventually became my norm, and one by one flats were added to the rest of my collection. Having that smooth string surface along with much lower action than possible with a roundwound was a game changer and an eye opener for me as a bass player.
Now, this is just me and my personal preferences here, coupled with the relationship between my instrument, my ears and my fingers. I promise not to bad mouth anyone who loves their rounds (Pyramid makes some of the nicest rounds, BTW). But if anyone asks why I like what I like, I'll speak up, absolutely. I expect my reasons are as valid as anyone else's -- and if they provide a little insight into a sound and a feel that another player hasn't yet considered, then so much the better. There's nothing lost by trying something new, and everything to gain in terms of variety and experience.
Fender P Bass Special "Cowpoke": GHS Precision Flats
Ibanez SRX705: GHS Precision Flats
EB SUB Ray 5: GHS Precision Flats
Ibanez SR506: GHS Precision Flats
Dean Exotica Ash AEB: D'Addario tapewounds
Ibanez SRF705 Portamento: D'Addario Chromes (factory set)
Hofner Club 500/2: TI Jazz Flats
Hofner Ignition 500/1: Pyramid Flats
Squier Cabronita: EB Cobalt Flats (very bright, an experiment)
Squier CV 70s P Bass: GHS Precision Flats
For what I do, this is what works.
Many used and just about all new instruments I've acquired have come strung with some generic flavor of roundwound string, which never seems to feel or sound right. I used to play rounds all the time, especially through the late 1980s and 1990s. Things changed when I started getting calls to record and strung one of my basses with Rotosound flats just to have an alternate sound standing by if needed. That sound eventually became my norm, and one by one flats were added to the rest of my collection. Having that smooth string surface along with much lower action than possible with a roundwound was a game changer and an eye opener for me as a bass player.
Now, this is just me and my personal preferences here, coupled with the relationship between my instrument, my ears and my fingers. I promise not to bad mouth anyone who loves their rounds (Pyramid makes some of the nicest rounds, BTW). But if anyone asks why I like what I like, I'll speak up, absolutely. I expect my reasons are as valid as anyone else's -- and if they provide a little insight into a sound and a feel that another player hasn't yet considered, then so much the better. There's nothing lost by trying something new, and everything to gain in terms of variety and experience.
If I had only one bass, I would definitely not use flats. It's just not me but no issues to the people who dig it.
That said, my older P is like the 4th bass down but with flats it has a very specific thing that it does. And when used in that context, makes me a pretty happy dude.
Just cause it's classic, don't think it's something you gotta do. My main is a Fender J with steel RWs, and it'll always be steel RWs. None of this nickel to save fret life reasoning for me......
That said, my older P is like the 4th bass down but with flats it has a very specific thing that it does. And when used in that context, makes me a pretty happy dude.
Just cause it's classic, don't think it's something you gotta do. My main is a Fender J with steel RWs, and it'll always be steel RWs. None of this nickel to save fret life reasoning for me......
Hi Mike, Lot's of Basses. Curious what you like, or what drew you to the Fender Dimension? (Not to derail the thread - feel free to reply by direct email if you like). Thomas
