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One Jazz, One P. Which one gets the roundwounds; which gets the flats?

I think it's weird that people cite Steve Harris as an example of what flats on a P sounds like. True, he did play flats on a P but he got a really cutting, super defined rock tone that is really unique and not the best example of the way that setup sounds for most people.

He also changes his strings before every show. Which means his flats never settle into that thumpy type of tone that flats are known for. IOW, if you leave your flats on for 1-2 weeks, that Steve Harris tone will be impossible to attain. You would be better served to get THAT tone from nickel rounds...you will get some of the warmth of the flats, but keep the "clank" for much longer than you would be able to with flats.

If you want to hear the absolute definition of flats on a P, listen to Jamerson. It's warm, vintage thump. It's undeniably cool but if you're in a hard rock setting and attempting to cut through the mix as the guitarists layer a giant wall of distorted guitar on you, you'll probably want something more zingy and modern, in which case you should go with rounds.

While this is also true, not all flats sound like the La Bella flats that Jamerson used. For example, D'addario Chromes have very present highs, even when broken in, and they work very well in a hard rock context. Though we should define "hard rock"...I'm talking about AC/DC, Jet, The Strokes, etc. If you are defining hard rock as Godsmack, AIC, etc., then I agree....there probably aren't any flats out there that would work in those bands.
 
What is this happy you speak of?

Yes there's no wrong answer, just curious what others are doing. Apparently jazz with flats less popular, but so delicious. Two J's two P's is the only correct answer. Too bad for me. Thanks.

Well....for ME...happy is rounds on both. :ninja:

Though I will admit to wanting another P-bass to keep as a dedicated "flats" bass. However, I can get 95% of the way there with Sunbeams on the P and cut the tone control back about 1/4 turn, so I haven't felt the need. Flats are on a Jazz are groovy, but not really the tone that I'm looking for.
 
I'm not a big fan of flats, honestly. I don't know why. On upright they feel fine to me, but on electric they just feel sorta icky.

Either bass can sound great with flats or rounds, though. P-bass with flats is a classic sound, but so is P-bass with rounds with the tone all the way up and played hard. Really classic rock sound especially.

Jazz bass, same thing, really. Flats would probably sound good, so would rounds. Just try both basses with the two kinds of strings and switch them around until you settle on something.
 
nocontrols said:
I think it's weird that people cite Steve Harris as an example of what flats on a P sounds like. True, he did play flats on a P but he got a really cutting, super defined rock tone that is really unique and not the best example of the way that setup sounds for most people.

If you want to hear the absolute definition of flats on a P, listen to Jamerson. It's warm, vintage thump. It's undeniably cool but if you're in a hard rock setting and attempting to cut through the mix as the guitarists layer a giant wall of distorted guitar on you, you'll probably want something more zingy and modern, in which case you should go with rounds.

Steve sure hits those flats harder then s$@t
 
:cool:

Not a easy as you think.
Most would go flats on a P-Bass. ( And I love it)
But have a set of TI344F's on my Jazz, and they sound wonderful.
Right now I'm doing flats on my Jazz, and Ken Smith "Compressors"on my P-Bass
That's the great thing about a Jazz & P-Bass, different string, different bass.