Praise Report: GHS Precision Flats

[Linnin]

I put Dimarzio Area J's in the Jazz last year. I don't think it's a difference in pickups.
And I didn't have this issue with Labella DTF's or any other strings on the bass.
It could well be the rosewood fingerboard or maybe letting the strings relax between instruments. Let's see what Jon Moody says.

The difference is the basses. The strings are the same. You're the same (or should be). It's clear.

 

[BassPilot]

That's an obvious and very likely reason. But in my many years of troubleshooting complex network issues I learned not to jump the gun on solutions.
Let's see what Jon says.

 

[Jon Moody]

I bought a set of GHS Precision Flats 6 weeks ago and put them on a Squier VM Jazz. I had the majorly thuddy E string and the difference between the E and the A, D & G was driving me crazy. I read this thread and other threads where people experienced the same scenario and frustration.
Last night I moved these strings to my G&L SB2. The strings were instantly much more even and pleasant sounding string to string. I had put about 20 hours on these strings on the VM Jazz but they weren't breaking in as others have described. I know, Linnin said upwards of 100 hours but I wasn't willing to wait that long.
I now have about 5 more hours on these string on the SB2 and they are much much more even string to string.
I'm wondering if they just magically broke in at the time I moved them to the SB2 or does the difference between the satin finish fingerboard of the VM Jazz and the rosewood fingerboard of the SB2 make a difference. Also, did removing them from one bass after putting some hours on them and letting them "relax" for 15 minutes before installing them on the other make a difference.
@Jon Moody - any input?

I don't have either bass in front of me, so any input I have to offer is going to be guesswork at best.

The simplest thought is that you somehow twisted the E string when installing it on the Squier, and didn't on the G&L.

As others have said, those are both very different instruments with different pickups (and quality of components), so that could play a part as well.

MAYBE the fretboard has something to do with it, but I doubt it would be this drastic.

 

[BassPilot]

I don't have either bass in front of me, so any input I have to offer is going to be guesswork at best.

The simplest thought is that you somehow twisted the E string when installing it on the Squier, and didn't on the G&L.

As others have said, those are both very different instruments with different pickups (and quality of components), so that could play a part as well.

MAYBE the fretboard has something to do with it, but I doubt it would be this drastic.

That makes more sense. I couldn't wrap my head around the VM having such an effect on one particular string. It's not out of the question as wood/materials and construction all come into play when producing sound but it just didn't add up for me. Thanks Jon!

 

[Pbassmanca]

I bought a set of GHS Precision Flats 6 weeks ago and put them on a Squier VM Jazz. I had the majorly thuddy E string and the difference between the E and the A, D & G was driving me crazy. I read this thread and other threads where people experienced the same scenario and frustration.
Last night I moved these strings to my G&L SB2. The strings were instantly much more even and pleasant sounding string to string. I had put about 20 hours on these strings on the VM Jazz but they weren't breaking in as others have described. I know, Linnin said upwards of 100 hours but I wasn't willing to wait that long.
I now have about 5 more hours on these string on the SB2 and they are much much more even string to string.
I'm wondering if they just magically broke in at the time I moved them to the SB2 or does the difference between the satin finish fingerboard of the VM Jazz and the rosewood fingerboard of the SB2 make a difference. Also, did removing them from one bass after putting some hours on them and letting them "relax" for 15 minutes before installing them on the other make a difference.
@Jon Moody - any input?

What gauge strings are these and how do you find them tension wise on the neck?

 

[BassPilot]

I got 0.45-0.105 (M3050).
To me they are a little higher tension than the 0.44-0.106 Pressurewounds they replaced (my string of choice until I put these on) . I just looked at the GHS String Guide charts and the Pressurewounds are 187.1 lbs total tension and the Precisions are 229.1 total lbs tension. So that jibes with what I'm feeling. I do not like floppy strings but these did take a little getting used to - just a little.
The Precisions are ultra smooth and play well. Once broken in they sound great - pretty even volume wise string to string, nice flats tone on the E & A and surprisingly clear mids and highs on the D and G. They are definitely not Labella DTF's and certainly not rounds - kind of like a flats version of the Pressurewound . As stated I have them on a G&L SB-2 and they definitely sound like flats but that SB-2 MFD still comes through - it's one hell of a pickup! I thought flats might get me to more of a P on the SB-2 but I think I'm just going to have to spring for an LB-100 .

 

[michael_t]

I got 0.45-0.105 (M3050).
To me they are a little higher tension than the 0.44-0.106 Pressurewounds they replaced (my string of choice until I put these on) . I just looked at the GHS String Guide charts and the Pressurewounds are 187.1 lbs total tension and the Precisions are 229.1 total lbs tension.

You're looking at the wrong set. The P Flats M3050 (45-65-85-105) are only 184.6 lbs.

 

[BassPilot]

Oh - you're right @michael_t ! I was looking at the 3050 - not the M3050.
So the Precisions are actually a little less tension than the Pressurewounds. But to me they feel like they have a little more tension.
Has anyone else found this to be the case?

 

[Linnin]

Oh - you're right! I was looking at the 3050 - not the M3050.
So the Precisions are actually a little less tension than the Pressurewounds. But to me they feel like they have a little more tension.
Has anyone else found this to be the case?

The flat ribbon wrap feels a little stiffer, but it does become more flexible over time with usage. I have no problem hitting notes with a bit of vibrato ala B.B. King.

 

[michael_t]

Oh - you're right @michael_t ! I was looking at the 3050 - not the M3050.
So the Precisions are actually a little less tension than the Pressurewounds. But to me they feel like they have a little more tension.
Has anyone else found this to be the case?

What you're feeling is the flatwound "stiffness". Tension (as in pulling weight) is not the same thing as stiffness/flexibility.

 

[michael_t]

It's interesting to note five of the GHS "medium" sets fall within the same range in terms of total tension. But they don't all "feel" the same.

Pressurewound M7200 (44-62-84-106) = 187.1
Boomer M3045 (45-65-85-105) = 186.5
Precision Flats M3050 (45-65-85-105) = 184.6
Balanced Nickel 4M-NB (44-60-80-106) = 184.2
Brite Flats M3075 (49-62-84-108) = 181.1

 

[Linnin]

It's interesting to note five of the GHS "medium" sets fall within the same range in terms of total tension. But they don't all "feel" the same.

Pressurewound M7200 (44-62-84-106) = 187.1
Boomer M3045 (45-65-85-105) = 186.5
Precision Flats M3050 (45-65-85-105) = 184.6
Balanced Nickel 4M-NB (44-60-80-106) = 184.2
Brite Flats M3075 (49-62-84-108) = 181.1

Pertinent observation @michael_t. Maybe that's a subliminal reason why I like the Precision Flats and Balanced Nickels so much. Four tenths of a pound difference. What are the roundcore Boomers?

 

[michael_t]

What are the roundcore Boomers?

Here are the next five:

Boomer Custom (45-60-80-105) = 174.2 lbs.
Precision Flats CM3050 (45-60-80-105) = 174.1
RC Boomer RC-M3045 (45-65-85-105) = 173.4
Balanced Nickel 4L-NB (40-56-76-101) = 172.3
Pressurewound ML7200 (44-58-80-102) = 169.3

 

[Linnin]

RC Boomer RC-M3045 (45-65-85-105) = 173.4

ten pounds lighter. hmmmm. I knew they were more flexible. I'm still waiting for the balanced roundcore Bass Boomers to arrive.

 

[Yahboy]

Update.

Take out the GHS 3025 and put the Tijf344back .

 

[michael_t]

Take out the GHS 3025 and put the Tijf344back .

 

[michael_t]

I know i should jugde the GHS 3025 maybe after 6 months..... But i found the E string sound trully lifeless and dull after 2 weeks ,even with wide open tone knob!!!! In my past opinion , even broken in Labella DTF 760FL and LTF4A has not such E sound !!!

This post by @Yahboy is from another thread, but I wanted to respond to it here as it concerns the GHS P Flats.

I've had my 3025 set on my P for only 10 days, but so far I'm very happy with them.

I honestly don't understand this thing about "truly lifeless and dull" E string. As far as I'm concerned, this 95E is probably the best flatwound E I've ever tried. It rings out clean with focus and definition, unlike the La Bella 104E (muddy) and the Fender 9050 105E (clangy).

And the 45G is well-balanced with the rest tonally, unlike the twangy 40G's I've tried in the past (D'A Chromes and Sadowsky Black Label).

Only time will tell whether they actually stay this way in the long run, but I'm willing to stick with them at least for the next 6 mths.

 

[Yahboy]

This post by @Yahboy is from another thread, but I wanted to respond to it here as it concerns the GHS P Flats.

I've had my 3025 set on my P for only 10 days, but so far I'm very happy with them.

I honestly don't understand this thing about "truly lifeless and dull" E string. As far as I'm concerned, this 95E is probably the best flatwound E I've ever tried. It rings out clean with focus and definition, unlike the La Bella 104E (muddy) and the Fender 9050 105E (clangy).

And the 45G is well-balanced with the rest tonally, unlike the twangy 40G's I've tried in the past (D'A Chromes and Sadowsky Black Label).

Only time will tell whether they actually stay this way in the long run, but I'm willing to stick with them at least for the next 6 mths.

I strung the 3025 on my friend Mim Std pbass just now, same result. But I let him play for another few weeks or months first.

 

[Sandwell]

The thing I've learnt about the PF E is that if it sounds dead it means its properly broken in, but while in certain instances you might think it sounds dead but in reality it THUMPS like nothing else. I recorded a broken in set on my P the other day and while acoustically it sounded dead as a dodo, on record it was shaking buildings. The E is a thing of thumpy wonder.

 

[Linnin]

The thing I've learnt about the PF E is that if it sounds dead it means its properly broken in, but while in certain instances you might think it sounds dead but in reality it THUMPS like nothing else. I recorded a broken in set on my P the other day and while acoustically it sounded dead as a dodo, on record it was shaking buildings. The E is a thing of thumpy wonder.

Bob's Your Uncle! You are right as rain! I'd like to amplify your astute observation with my own. If you read post #1 of this thread you will find my original position was that the E was absolutely perfect and it was the rest of the set that was unbalanced. This was totally contrary to most common thinking that the E was wrong and the rest of the set, right. Proud to be contrarian.