Maybe you don't want flats?
Try DR DDT or GHS Bass Boomers. Both are fairly mellow for rounds.
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Try DR DDT or GHS Bass Boomers. Both are fairly mellow for rounds.
My experience is with the Fender 9050CL (45-60-80-105) and the Sadowsky SBF-40 (40-60-80-100).
The Sads with smaller G and E do feel more supple and comfortable overall, although I wouldn't consider them to be "low tension" as such. What I do like about the 9050CL set is how well-balanced they are across all four strings both in tension and tone. If the Sads came in the same gauges as the Fenders, I would expect them to be fairly close in terms of overall playing feel.
I should also add that the 9050CL set feels very close to the La Bella 760FL (43-60-82-104) in terms of stiffness, although they're two different animals tonally.
How would you compare the two, tonally?
Sorry to be a pita, just curious........ I'm somewhat of a tone chaser. I should add that I've only switched to flats exclusively in the last few years..... I had played them in the past but was more of a round player for what seemed like eternity. Fwiw, my rounds of choice were D'Addario Slowwounds, but they've long been discontinued.
Fender 9050CL - They start out with a rather annoying metallic clang when new, which eventually settle into a throaty low-mid grind after 2-3 months. I love them on my J for the grind and growl, but not so much on my P.
La Bella 760FL - Thick and thumpy with plenty of old-school vibe. Sound great on a P for the 70's classic rock/Motown sound.
Sadowsky Black Label Lite - Somewhere in between the other two; not quite as thumpy and old-school as the LB, but more of full-bodied punch and clarity. The mids on them are smoother and more "refined" compared to the Fenders, ie no metallic clang. My P can growl better with the Sads than the LBs.
Confirmed! :-( Sounds like he'll be getting a few more sets, and then that's it. Why? Why?
Chromes EBC84 light flats. 40-60-80-100. Feels like rounds, has clarity, and plays well with a soft attack or a pick. And it will do old school funk slap. Also, they can get the action real low. Some foam under the strings at the bridge, and pick near the neck will get you a thumping flatwound sound similar to a double bass. Depending on your pickups, and bass amp cabinet design, flats can get into sub frequency range >40hz. If you try to boost the sub range you'll get mud.
I don't like them on 5-string basses (the B string doesn't work for me), but DR Dragon Skins are a lovely, detailed harmonically complex roundwound with a lot of warmth and reduced fret/finger noise.
My favourite string on 4-string Fender J's and P's...
Strung on a new set of D'Addario Chromes and these things are wonderful. Last time I owned a set was on a five-string Ibanez fretless SR305F eight years ago, and I wasn't crazy for them. On my L-2000, these are perfect. Thanks for your help, all.
Glad you found what you're after! Can you tell me how the Chromes sound with just the bridge pickup in series, running passive?
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Give me some time and I can record you one, instead. This setting is actually one of my favorites.
@fermata
Here it is. It's a short demo that showcases
1) Open strings, plucked.
2) C major intervals across all four strings.
1st take: Bass/Treble @ +0 dB.
2nd take: Bass/Treble @ -15 dB.
3) Melody to Bill Evans' Peri's Scope.
Bass/Treble @ +0 dB.
Hope this helps.
Here it is. It's a short demo that showcases
1) Open strings, plucked.
2) C major intervals across all four strings.
1st take: Bass/Treble @ +0 dB.
2nd take: Bass/Treble @ -15 dB.
3) Melody to Bill Evans' Peri's Scope.
Bass/Treble @ +0 dB.
Hope this helps.
Right on! Glad you liked it. My first set of flats were LaBella Deep Talkin' 760FLs that were pretty hollow, to me. The Chromes have punch, depth and still retain clarity. I love 'em!
Glad you're enjoying them.
The feel of the BT set is a very real improvement.
Ironically, I tried mine at a backline gig last week, and was disappointed.
Moderate volume levels, horrible echoey hall, basically like a small gymnasium.
Squier VM P5 with Am Std pickup and BT Chromes into modded Fender Rumble 100 combo. No drums, just a miked Cajon and hand percussion.
The bass felt great with the flats. But the room was ridiculously boomy, and the Chromes conspired with the dark old-school sound of the Rumble to make a muddy mess. No amount of knob-twisting seemed to help.
The second day of the conference, I went back with a G-K MB200 head and AudioKinesis Thunderchild (basically a compact PA cab with improved low end). I used my long-scale Dingwall with nickel rounds, and had no trouble cutting through with a tight, focused, punchy tone.
This is probably a commentary on technique more than my string or gear choices. I've spent years optimizing my signal chain for the way I play, and I can't expect to figure out flats overnight...
My set arrived this weekend, and I'm just back from a rehearsal: they sound and feel great! I'm looking forward to breaking them in, but even now, the mix of a strong fundamental with nice clarity and definition is very much to my liking. I really like the Super Light set I got (40-95); technically the D would need to be a .055, rather than a .060, to be perfectly balanced, but eveything's very comfortable as is.
