Even really old rounds I do 't think sound like flats though. They don' t have the "thunk" for want of a better description. Sadly I may have to just stick to the old rounds from now though as the closest I'll get...
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Rounds which sound like flats
- Thread starter 4StringDave
- Start date
About thunk/thump/punch/etc., I had a set of GHS PW M7200 (44-106) on my CV 50s for a short time. Maybe because it has a thick core, or because it's unusually stiff for some other reason, I noticed a thump from them, a little pulse right after the pluck, not the same as a flat but could certainly stand in. It was more punchy in this way than Roto 66 45-105, for example.
I don't mean a flat's thump (with dissonant components as I understand it) which I never liked. I mean a very brief percussive thing.
-At that time, I wrongly ascribed this to the fact that the SCPB pickup is a little farther forward than a J pickup, and/or because of the single-polepiece-per-string-transient thingy. No, I'm pretty sure it was those strings, as it disappeared with other strings while I wasn't noticing.
-At that time, I didn't yet know that its tone cap was so small, so partly for this reason the PWs were brighter than I wanted and I changed them. (It came with a .047uF. Advertised is .068 I think, and original Fender was .1uF I think.)
I praised Roto 66 earlier (partly because they are not NPS as I opined).
GHS PW (although not SS) are also not plated, so I could revisit them someday.
So, with a bigger capacitor it's possible that GHS PW could serve even better than Roto 66 with regard to this specific topic.
I don't mean a flat's thump (with dissonant components as I understand it) which I never liked. I mean a very brief percussive thing.
-At that time, I wrongly ascribed this to the fact that the SCPB pickup is a little farther forward than a J pickup, and/or because of the single-polepiece-per-string-transient thingy. No, I'm pretty sure it was those strings, as it disappeared with other strings while I wasn't noticing.
-At that time, I didn't yet know that its tone cap was so small, so partly for this reason the PWs were brighter than I wanted and I changed them. (It came with a .047uF. Advertised is .068 I think, and original Fender was .1uF I think.)
I praised Roto 66 earlier (partly because they are not NPS as I opined).
GHS PW (although not SS) are also not plated, so I could revisit them someday.
So, with a bigger capacitor it's possible that GHS PW could serve even better than Roto 66 with regard to this specific topic.
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GHS Balanced Nickel are stiff, and not plated (pure nickel outer).
This is all I have for this thread.
This is all I have for this thread.
Thanks for mentioning the Balanced Nickels. I don't know why I didn't think of them until now.
What do Fender 9050 Flats and GHS Balanced Nickels have in common? Green silk!
I've only tried the light set (40-101) of the BN, and while they're relatively firm in feel for a round core, I didn't find them "stiff" as such. In fact, I would say the 44-106 would actually be closer to the Fender 9050L (45-100) in terms of overall stiffness.
Pure nickel roundwound on a round core = deep, focused lows with warm, smooth mids without a zingy top end. Once they settle into their nicely broken-in state, that's where they stay for a long time.
Something that may be worth consideration by the OP...
Here is a very nice Balanced Nickel vs Super Steels (not Rotos, but pretty close) post by @trothwell with sound clips.
I always love his string demo sound clips.
I always love his string demo sound clips.
Y'know, Lee Sklar uses SS rounds, on his famous Frankenbass too on all that James Taylor stuff and similar(many would grab for flats for that music). To say his sound is warm and mellow would be an understatement. Of course he also has Lee Sklar's hands....
Lee Sklar has used GHS Super Steels 40-58-80-102 exclusively on his Frankenbass since it was built in 1974. The interesting thing to note is Sklar says he prefers their "well broken-in tone" and only changes them every six months or so even during his busiest times going in and out of recording sessions.
I've been way into flats since the early-mid 90's(I pride myself on being an "early adopter" in the second wave of flatwound popularity
). Funny, I'm totally on a roundwound kick right now, and most of the music I'm playing is rootsy, folky, acoustic-y, country-esque type stuff. Maybe it was just boredom, I dunno--just decided to rock the Jazz with rounds instead of the P w flats for that music and it's been a good reminder that lots of different things can work just fine, and that most of your sound really is "in your hands".
I’m using well broken in DR nickel Lo riders on a Fender jazz. I haven’t “switched” — but I’m not missing the flats that I’ve predominantly played on for the last 40 years.
I think that discussions about strings don’t work if you don’t talk about the musical context you’re using them in. For instance, the well broken-in, thumpy nickel Lo riders work great for reggae.
Likewise — sure, we all want to use strings that feel “right” but - why have a discussion only about how a string feels but not talk about what they sound like and in what musical context you’re using them?
I think that discussions about strings don’t work if you don’t talk about the musical context you’re using them in. For instance, the well broken-in, thumpy nickel Lo riders work great for reggae.
Likewise — sure, we all want to use strings that feel “right” but - why have a discussion only about how a string feels but not talk about what they sound like and in what musical context you’re using them?
I'm too am using them for reggae and dub, and also all manner of American roots music. It's funny, I did some dub tracks recently w my Jazz with old NLR's, and then put some Labella flats on it for a few tracks---I'm totally feeling the NLRs more for that material, on that particular bass at least.
I play in three bands - a sixties band, a blues/rnb band and a country band (50s to 90s country mainly)
Meant no disrespect to you or your original query. Feel is important.
I suppose my question might be changed to - which rounds have the most mids, especially when broken in, as I feel now going back to rounds from flats that there is something missing in the midrange? I don't care about top end.
I am realy interested in black nylon tapewounds. Any comparisons between LaBellas tapes, and D'Addarios tapes
Thanks!?
Thanks!?
I would never understand people who want flats that sound like rounds or the other way around. What are these people looking for? 
As described in the original post, it's a feel vs tone thing.I would never understand people who want flats that sound like rounds or the other way around. What are these people looking for?
