These get thrown together often. Taking price out of the equation, what are your thoughts on the similarities and differences between these?
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GHS p flats vs labella?
- Thread starter sigmafloyd
- Start date
I just ordered a set of GHS flats, so i'll be able to tell you more about them in a week or so.
But the reason I bought them #1 was for the price. #2 because I was told they had a lower tension and more traditional flatwound tone over Chromes. Compared to LaBella's I have no idea.
But the reason I bought them #1 was for the price. #2 because I was told they had a lower tension and more traditional flatwound tone over Chromes. Compared to LaBella's I have no idea.
I have both on my current basses (2 P: 1 Fender Roger Waters and 1 Squier VM). Both of them really deliver that old school thump, both sound nice and round, the way a P should sound. However there is something on the LaBella I enjoy better when playing. It is not really soundwise and more the feeling of the strings. My pick is LaBella DTB 760 FS over the GHS P Flats. Price is really irrelevant since both strings will last long before you change them (if you would do it..).
As usual... IMO, IME, YMMV, etc...!
As usual... IMO, IME, YMMV, etc...!
I find the LaBellas a bit stiff, GHS are easier on the fingers. Soundwise I can't hear a difference.
Either set is going to get you classic flat sounds. I personally think the GHS Precisions sound a little better, but I could go wither way.
IME the GHS' are nothing like the Fenders. I'm assuming new Fenders. Fenders and Chromes are in the same ballpark.
GHS, no question. Have had no luck with LaBellas for getting the tone I want.
Pyramids are dead on, but they're not in this fight...yet...
Pyramids are dead on, but they're not in this fight...yet...
azureblue said:
I just put these on one of my P basses. They're pretty good. They seem high quality, especially for the price, but I'd have say that they are the most roundwound-like flats I've ever used. They even feel like roundwounds compared to most flats.
I used to play LaBella's for years and then after a brief stint with other strings, I have the GHS flats on my P bass. I have the 45-95 set.
The tone is kind of perfect to my ears - rich, warm, classic, but with some actual high-mid articulation to the notes and a fair amount of sustain as far as flats go. I think they feel great as well. Thinking back to the LaBella's, I just couldn't get clarity out of some of the notes, particularly the E string.
Only thing I'm thinking about is trying the higher gauge GHS flats; I prefer a higher tension and the 45-95 set feels a little floppy at times.
The tone is kind of perfect to my ears - rich, warm, classic, but with some actual high-mid articulation to the notes and a fair amount of sustain as far as flats go. I think they feel great as well. Thinking back to the LaBella's, I just couldn't get clarity out of some of the notes, particularly the E string.
Only thing I'm thinking about is trying the higher gauge GHS flats; I prefer a higher tension and the 45-95 set feels a little floppy at times.
I've never used LaBella flats, but I have used the GHS P flats. Classic flatwound vibe that's very old school.
SirMjac28
Patiently Waiting For The Next British Invasion
I use Labella's on everything except my Hofner which has Pyramids I love these strings and the Labella Jamerson set is awesome
OK, I see folks mentioning other stuff, may as well throw my 2 cents in there:
TI (nickel) - Liveliest true flat, never loses its 'sproing,' truly lardacious AND loud as hell (great s/n). At odd times, a core will fracture (when installing and stretching, but not on a gig). Feels floopy, needs adequate neck relief and bridge height to accommodate extra excursion. If you're an upright player, think Spirocore, which TI also makes. Not particularly fast, due to floppiness and higher action.
Pyramid Gold (nickel) - Dead as Michael Jackson, low output, rich like darkest chocolate, must break in a set and keep them around for when you need them.
LaBella, GHS, Fender Stainless - Classic stainless sound, somewhat dry but percussive. With tone dimed, trademark fret rattle when glissing up (which I love). Added tension for greater string control (speed), except LaBella Extra Light, which is a truly weird string that you have to try once in your life. Play it for a while, they go from bright to dead in an interesting way. I would play these if I was recovering from an injury.
GHS Pressure Wounds - Someone just mentioned these on another thread as having some of that TI sound. Yeah, they do, that comment made me pretty sure I have some on this SQ-series P I just got, they're all rusty and crusty and sound great. If your work is 99% flatwound but you need to thump once in a blue moon, these will do. I know they are not flats, and I wouldn't list any of the ground roundwounds, which as far as I'm concerned are an answer to a question no one asked, but I bring these up because they are the only non-flats that truly invade flatwound turf.
Missing in action: Fender nickel flats. I wish they'd bring them back. They will tear your face off and make you bleed from the ears. Unbelievable. If anyone finds a stash in an old music store, remember who told you about them.
I now return you to your regularly scheduled topic.
TI (nickel) - Liveliest true flat, never loses its 'sproing,' truly lardacious AND loud as hell (great s/n). At odd times, a core will fracture (when installing and stretching, but not on a gig). Feels floopy, needs adequate neck relief and bridge height to accommodate extra excursion. If you're an upright player, think Spirocore, which TI also makes. Not particularly fast, due to floppiness and higher action.
Pyramid Gold (nickel) - Dead as Michael Jackson, low output, rich like darkest chocolate, must break in a set and keep them around for when you need them.
LaBella, GHS, Fender Stainless - Classic stainless sound, somewhat dry but percussive. With tone dimed, trademark fret rattle when glissing up (which I love). Added tension for greater string control (speed), except LaBella Extra Light, which is a truly weird string that you have to try once in your life. Play it for a while, they go from bright to dead in an interesting way. I would play these if I was recovering from an injury.
GHS Pressure Wounds - Someone just mentioned these on another thread as having some of that TI sound. Yeah, they do, that comment made me pretty sure I have some on this SQ-series P I just got, they're all rusty and crusty and sound great. If your work is 99% flatwound but you need to thump once in a blue moon, these will do. I know they are not flats, and I wouldn't list any of the ground roundwounds, which as far as I'm concerned are an answer to a question no one asked, but I bring these up because they are the only non-flats that truly invade flatwound turf.
Missing in action: Fender nickel flats. I wish they'd bring them back. They will tear your face off and make you bleed from the ears. Unbelievable. If anyone finds a stash in an old music store, remember who told you about them.
I now return you to your regularly scheduled topic.
