Well I ordered some since no one else has any comments! 40-100 are on the way!
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Sadowsky BLUE Label Flats
- Thread starter miles'tone
- Start date
Thanks for letting me know. That fact will really come in handy if I ever get into a wrestling match with one on an arctic cliff. May your search for a certain two elemental metals be successful.Yes Sir!
Roger gave me a set of these to try out a few months ago. In short I think they're excellent and they now live on my sadowsky p bass. I had them on my fender for a south american tour w/ Albert Hammond Jr. this spring. So any videos from lollapalooza south america this year would be those. Here were my impressions that I wrote to Roger after trying them out (before I used them on a whole tour):
The tension is nice, seemingly more flexible than the black label. These are looser feeling than the 40-100 black label flats on my Sadowsky bass. I prefer the feel of these. A little softer, spongier. The wrap is less smooth than the black label, you can feel the ridges a tiny bit. I don't prefer one way or the either really.
Let's see, the sound. I'm a firm believer that you need to match the strings with the bass, and maybe these strings match this particular bass very well, but I'd venture to say these are some of my favorite strings I've played. Somehow the black label seem darker, but also more modern. These sing in the midrange, and sound classic. But they also have a bark to them (Paul Jackson) that the black labels don't seem to have that, maybe that'll fade away in a few days, I hope not.
They are very clear and have beautiful, even sustain on each string. I'm not sure how to articulate it, but the envelope has a nice low punch that fades away kind of quick, but then the note sustains for a long time afterwards.
If I was to get ultra-specific, I'd say the E and the A have slightly less tension than the D and G, which is something I prefer, because it can make the lower strings more expressive and seems to give the D and the G a more robust sound, especially on a P bass, which is one of my biggest gripes on most strings I use. In that way it kind of reminds me of TI jazz flats, if you've ever used those, which have a more thick sounding D and G string in comparison to the E and A. I've found that with your black label flats and blue nickels, the E and A get a faster decay earlier on in their break in period than the D and G. This set seems to be balanced more towards a thicker high register.
I played them on a gig, and how they sounded on the gig was the same as my impression as when I used them at home, which is good.
The tension is nice, seemingly more flexible than the black label. These are looser feeling than the 40-100 black label flats on my Sadowsky bass. I prefer the feel of these. A little softer, spongier. The wrap is less smooth than the black label, you can feel the ridges a tiny bit. I don't prefer one way or the either really.
Let's see, the sound. I'm a firm believer that you need to match the strings with the bass, and maybe these strings match this particular bass very well, but I'd venture to say these are some of my favorite strings I've played. Somehow the black label seem darker, but also more modern. These sing in the midrange, and sound classic. But they also have a bark to them (Paul Jackson) that the black labels don't seem to have that, maybe that'll fade away in a few days, I hope not.
They are very clear and have beautiful, even sustain on each string. I'm not sure how to articulate it, but the envelope has a nice low punch that fades away kind of quick, but then the note sustains for a long time afterwards.
If I was to get ultra-specific, I'd say the E and the A have slightly less tension than the D and G, which is something I prefer, because it can make the lower strings more expressive and seems to give the D and the G a more robust sound, especially on a P bass, which is one of my biggest gripes on most strings I use. In that way it kind of reminds me of TI jazz flats, if you've ever used those, which have a more thick sounding D and G string in comparison to the E and A. I've found that with your black label flats and blue nickels, the E and A get a faster decay earlier on in their break in period than the D and G. This set seems to be balanced more towards a thicker high register.
I played them on a gig, and how they sounded on the gig was the same as my impression as when I used them at home, which is good.
Hmmmm..... you've got me very interested. I'm not a TI flats fan, but if they have the Black Label character but lower tension with a more singing aspect, I'm just about sold. I still want to hear Jason's verdict on them, but they sound like they could be perfect for my fretless Jazz.
I have LB gold white tapes on it now, and it's kind of interesting... through the amp out in the air the tapes sound wonderful, though they don't sustain as much as I would like, but when I record straight in they're not nearly as sonorous or singing. I haven't quite figured that out yet. Is it the head (TH500)? Is it the cab (Audiokinesis TC112v3)? Is it my interface? Regardless, it sounds much better 'live' than recorded. EB cobalt flats mostly bridged that gap, in fact it leaned a little bit the other way, better direct than through my rig. If the Blue Labels split that difference, they''ll be perfect.
I have LB gold white tapes on it now, and it's kind of interesting... through the amp out in the air the tapes sound wonderful, though they don't sustain as much as I would like, but when I record straight in they're not nearly as sonorous or singing. I haven't quite figured that out yet. Is it the head (TH500)? Is it the cab (Audiokinesis TC112v3)? Is it my interface? Regardless, it sounds much better 'live' than recorded. EB cobalt flats mostly bridged that gap, in fact it leaned a little bit the other way, better direct than through my rig. If the Blue Labels split that difference, they''ll be perfect.
I just ordered a set. They sound interesting enough and I'll only really know if I actually try a set. My struggle now is to see if I want to try them on a P or a RIC...
I've had a set of the light gauge on for about 10 days - 2 rehearsals, a church service and a rock gig - plus personal play time. So far so good 
They sound like new Sadowsky flats, (definitely a family resemblance) so they'll need to get played in over the next month or two. I like the slightly lower tension, but they are still tight enough to not be sloppy, like TI flats seem to me. I figured (wrongly) that, because they were Blue Label, that they may be a Nickel Wrap... like Pyramid Gold... but they're stainless. They're supposed to be clearer in the mids - which Sadowsky Flats already are. I have a bunch of playing over the next couple of months, so they should be settled in later in the summer. However, I'm guessing they'll be in service on my '59 for many years.
They sound like new Sadowsky flats, (definitely a family resemblance) so they'll need to get played in over the next month or two. I like the slightly lower tension, but they are still tight enough to not be sloppy, like TI flats seem to me. I figured (wrongly) that, because they were Blue Label, that they may be a Nickel Wrap... like Pyramid Gold... but they're stainless. They're supposed to be clearer in the mids - which Sadowsky Flats already are. I have a bunch of playing over the next couple of months, so they should be settled in later in the summer. However, I'm guessing they'll be in service on my '59 for many years.
I've had a set of the light gauge on for about 10 days - 2 rehearsals, a church service and a rock gig - plus personal play time. So far so good
I really like this reply.
I have used Black Label flats for over ten years. At first, I was a little shocked by their upper mid presence and zing, especially when new. As most of you know, that calms down a bit with use, but they remain very aggressive and present in the mix, especially when compared to other flats.
If I could have a string with that same presence, a bit less tension, and a little more in the low mids, I'd be a very happy man. From your description, that may exactly be what these strings are. After my run of musical performances is over by the middle of August, I'll change the Blacks out for the Blues to see if they're what I'm looking for.
I sure like what I'm hearing so far from this thread.
I've also used Sad Black Label Flats for over 10 years. Regular gauge on most of the basses, and lights on my fretless.
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My set came in yesterday. To make my job easier, especially in regards to tone and feel, I would agree closely with the below quoted post. My D string might be a dud though, it's lifeless compared to the other three. But otherwise first impressions are great. On the flats continuum, I picture it like this... Forgive the super crude visualization...
Chromes... Fender flats... Blue Sad flats... Black Sad flats... Labellas
Obviously, there are other brands that exist in those gaps but I'm most familiar with those listed. The Fl labellas were always my favorite but recently I've just found them too thuddy. Thus my foray into these blue label flats. So far so good.
Chromes... Fender flats... Blue Sad flats... Black Sad flats... Labellas
Obviously, there are other brands that exist in those gaps but I'm most familiar with those listed. The Fl labellas were always my favorite but recently I've just found them too thuddy. Thus my foray into these blue label flats. So far so good.
What gauges did you get? How do they compare with the Black Label and the La Bella 760FL in term of overall stiffness/flexibility?
I got the 45s based on the lower relative tension statements. J Brooks was spot on, IMO. They are more flexible than the same gauge black labels for sure. And similar to his post again, the E and A and even G kind of feel pretty similar to the FL set. The D is definitely the stiffest, especially compared to the FL set.
I'm curious to see how they'll break in. I was just getting done breaking in a set of Fender flats and getting used to those. These blue labels have a spongier, punchier sound. The fenders, definitely drier.
I hate describing strings in detail, though, and am terrible at it. I would just say that if anyone is a fan of labella or Sadowsky flats, these are worth the money and a try.
I hope they come out with a 5 string set with a non-tapered B string. I absolutely adore the tone their Black Label flats on the EAD and G, but the B string, IMHO, sounds weak compared the rest of the set and other, non-tapered B's. I have been using a TI Jazz B string or Chromes... 
I hope they come out with a 5 string set with a non-tapered B string. I absolutely adore the tone their Black Label flats on the EAD and G, but the B string, IMHO, sounds weak compared the rest of the set and other, non-tapered B's. I have been using a TI Jazz B string or Chromes...
I use a B string Chrome with Sadowsky Black flats because the Sadowsky B string don't fit my bridge....
I got my set (045-105) a week ago, and installed them on my CS 59 P.
Feel: the strings look and feel more like (well-polished) Chromes than LaBellas. Black label flats have that shiny, glass-like look and feel, these are "matte" if that makes sense (sorry, English is not my first language), and you can see the outer wrap. I really, really like the feel of LaBellas and Black label flats, so I was a bit skeptical at first, but I soon realized these are pretty much as smooth to the touch as the black label flats, even though they don't look like it. Think of a set of well-worn Chromes, and you get how they feel to the touch. Tension-wise I personally don't feel much difference to the Black label flats of the same gauge, but that could just be me. My other basses have 2 x Black label 045-105 and 1 x LaBella 760FM on them, and the Blue label flats don't feel that different.
Sound: I have played them through my practice amp, and my gigging amp, alone and at one band practice. They are obviously not broken in yet, but I got the sense that these are well-balanced flats that can easily be heard in a band setting. To me, they sound a bit like a mix between Black label flats and TI flats, but with more attack and a bit more highs. Or like Chromes without the high-mid, metallic "clank". I wouldn't put them in the "classic" category myself, they are brighter than your classic LaBellas, and like @J. Brooks says, they have a bark to them. I agree with @Coughdrops regarding where they would fit in a tonal spectrum. I like them alot so far, will be interesting to see how they age.
Feel: the strings look and feel more like (well-polished) Chromes than LaBellas. Black label flats have that shiny, glass-like look and feel, these are "matte" if that makes sense (sorry, English is not my first language), and you can see the outer wrap. I really, really like the feel of LaBellas and Black label flats, so I was a bit skeptical at first, but I soon realized these are pretty much as smooth to the touch as the black label flats, even though they don't look like it. Think of a set of well-worn Chromes, and you get how they feel to the touch. Tension-wise I personally don't feel much difference to the Black label flats of the same gauge, but that could just be me. My other basses have 2 x Black label 045-105 and 1 x LaBella 760FM on them, and the Blue label flats don't feel that different.
Sound: I have played them through my practice amp, and my gigging amp, alone and at one band practice. They are obviously not broken in yet, but I got the sense that these are well-balanced flats that can easily be heard in a band setting. To me, they sound a bit like a mix between Black label flats and TI flats, but with more attack and a bit more highs. Or like Chromes without the high-mid, metallic "clank". I wouldn't put them in the "classic" category myself, they are brighter than your classic LaBellas, and like @J. Brooks says, they have a bark to them. I agree with @Coughdrops regarding where they would fit in a tonal spectrum. I like them alot so far, will be interesting to see how they age.
