Tell me about GHS Precision Flats.

[squeally dan]

Sounds like these are likely GHS Precision flats. Just got this bass in a trade and was planning to put some TI flats on it because I’ve like the TIs I had on my J. However, I’m now really digging the tone of these GHS strings. My only issue is they feel a good bit stiffer. So, thinking they may be mediums and if so I might try the lighter gauge. Also may have some setup issues.

So, I’d love to hear what gauge others are using and experience with the lights vs. mediums.

Also, what are your thoughts on the tone of these strings? To me they seem well-balanced and seem to be a great medium between TIs and the boomier flats I have on my other P.

 

[Robert Booker]

You can get a lot of info that will help you familiarize yourself with them in this thread directly above yours at the moment; Praise Report: GHS Precision Flats

My thoughts are they're an excellent old school thumpy flatwound from a company who makes excellent products. I prefer more "fight" in my bass strings so I've typically used higher gauge hex core strings like the PFlats on my bass.

I like them a lot but I also happen to like LaBella DTF a little bit more so that's what I'm using at the moment. But I still have a set of Precision Flats in a drawer standing by just in case my PBass needs a string with just a little less thump.

But even if you go to a lighter gauge set of PFlats they still aren't gonna be as flexible as your TIs. That's a primary difference between those two strings you'll need to decide on yourself.

 

[Yahboy]

If you prefer Ti flat tension and well balance string to string stiffness , you should try Labella LTF4A !

On 3025 set i been use before , the .045 G string are quite stiff compare to EAD string, cause unbalance string to string stiffness compare to your familiar Ti flat , and the G string just sound lasting bright .

 

[Grinderman]

I like/have 55-105 GHS P flats on one of my P basses.

I like/have 55-105 Fender 9050M flats on my Jazz.

On my other P basses I have LaBella DTF 760M '54 Originals, 52-110.

 

[GIBrat51]

Sounds like these are likely GHS Precision flats. Just got this bass in a trade and was planning to put some TI flats on it because I’ve like the TIs I had on my J. However, I’m now really digging the tone of these GHS strings. My only issue is they feel a good bit stiffer. So, thinking they may be mediums and if so I might try the lighter gauge. Also may have some setup issues.View attachment 4950623 View attachment 4950624 View attachment 4950625 View attachment 4950626

So, I’d love to hear what gauge others are using and experience with the lights vs. mediums.

Also, what are your thoughts on the tone of these strings? To me they seem well-balanced and seem to be a great medium between TIs and the boomier flats I have on my other P.

Okay...
First; the GHS Precision flats feel a lot stiffer than your TIJFs - because they actually are. Besides having more pull-to-pitch tension than the TI's... Only the La Bella Low Tension Flexible Flats have less actual tension than TIJFs (not much; 136 lbs. vs 143 and change), but the La Bellas are designed to feel stiffer. Anyhow...
Yes, I use GHS Precision Flats. I have the M3050 (45-105) set on my '78 P-Bass - with the mute in the bridge cover - because I want that bass to sound like it's, oh, say, 1964 outside. And, since these strings are the closest I can come to the original Squier-made Fender Flats that it would have worn when new (GHS is the initials of 3 guys that used to work for Squier Strings), that's what it wears. I don't find them particularly stiff, myself; but, I've been playing basses with flats on them for 54 years now, so... YMMV .
I also have a set of the short scale 3020s on my Warmoth Mini-Precision; for pretty much the same reason. They only come in 45-95, unfortunately; I prefer at least 45-105s on my short scale basses (lighter gauges feel... limp... to me), but the tone more than makes up for the slight lack of stiffness. Same applies to the 3020's on my Eastwood Flying V (a Gibson clone). If you want some low-mids and mids to go with your low end Thump? Gotta go with the Precision Flats. They're about as close as you can come to the sound of that P-Bass on all those classic Rock and R&B songs on the radio - and that ain't bad. Don't get me wrong; I use a lot of flats on my 26 basses. Some of them are all about the Thump (La Bella DTF's are awfully hard to beat for that). Some are all about the modern, midrange tone - TIJF's, Fender 9050L's, and Galli Jazz Flats are the stuff for that, IMO. Other flats - like Roto 77LDs, DR Legends, and others, sit in between, with EB Cobalt Slinky Flats and D'Addario Chromes squabbling for the "Brightest Flats" crown. It just depends on what you want to hear...

 

[Jon Moody]

(GHS is the initials of 3 guys that used to work for Squier Strings)

Just as a point of clarity. The 3 FAMILIES that worked for VC Squier. The women were the ones wound the strings. The men did the maintenance/engineering and outside sales.

 

[iiipopes]

I sum up GHS Precision Flats with this phrase:
Luscious dark chocolate.

 

[e-flat]

GHS P Flats are a classic old-school tone , and as @GIBrat51 mentioned they offer a different flavor from the (IMO) more “hollow” (in the midrange) La Bella DTF voiced flats. GHS P Flats are deep & dark but have a strong low mid voice so low notes stay defined & tight. Love them on a P Bass.

@squeally dan - I’d recommend dealing w/ the high action to get a feel for the set you currently have … and if you decide you want lighter strings, the Light 40-95 is terrific.

if you really want to get a nicely balanced set with a little more “thunk” to the low E than the light set, try ordering singles from GHS. I run a 45/55/75/100 custom set on one of my P Basses and they are world class thumpers with nice note definition and great tonal AND tension balance when properly set up.

(I still wish this set was offered as a standard / off the shelf “balanced” set @Jon Moody )

 

[SharpCat]

Sorry to resurrect this thread--need some advice on fitting to my bass.

Have a set of CM3050, went to put them onto my Yamaha BB234, and the E string is longer than the distance from back of the bridge to the center of the tuning peg by half an inch--the bass measures 37.5, and the string is the length listed on the package--38 inches to the start of the silk. I chalked it up to accidentally ordering extra long scale, but looks like 38 inch is all that's made other than a 5-string set in 37.25. I guess I could toss the fifth string, but seems wasteful. Any other suggestions for getting a working set on my bass? TIA!

 

[Jon Moody]

Sorry to resurrect this thread--need some advice on fitting to my bass.

Have a set of CM3050, went to put them onto my Yamaha BB234, and the E string is longer than the distance from back of the bridge to the center of the tuning peg by half an inch--the bass measures 37.5, and the string is the length listed on the package--38 inches to the start of the silk. I chalked it up to accidentally ordering extra long scale, but looks like 38 inch is all that's made other than a 5-string set in 37.25. I guess I could toss the fifth string, but seems wasteful. Any other suggestions for getting a working set on my bass? TIA!

It has never been a problem. If you look at the original photos of the post, the full diameter of the E string is wrapped around the tuning peg with no ill consequence.

String them up, you’ll be fine.

 

[michael_t]

Have a set of CM3050, went to put them onto my Yamaha BB234, and the E string is longer than the distance from back of the bridge to the center of the tuning peg by half an inch--the bass measures 37.5, and the string is the length listed on the package--38 inches to the start of the silk. I chalked it up to accidentally ordering extra long scale, but looks like 38 inch is all that's made other than a 5-string set in 37.25. I guess I could toss the fifth string, but seems wasteful. Any other suggestions for getting a working set on my bass? TIA!

As far as these flats are concerned, no worries whatsoever about some of the full winding on the E wrapping around the post.

EDIT: By the way, those are the light set, 45-60-75-95.

 

[SharpCat]

<Sulu voice>Oh, My!</Sulu>

So nice sounding! We'll see how they settle in. Thanks for the encouragement!

 

[Phaidrus]

I like/have 55-105 GHS P flats on one of my P basses.

I like/have 55-105 Fender 9050M flats on my Jazz.

On my other P basses I have LaBella DTF 760M '54 Originals, 52-110.

How does the 55-105 GHS P flats set compare to the 9050M set in terms of tension, stiffness and overall feel?

And in terms of tone?

 

[Grinderman]

I know the tension of the GHS P flats is 229 pounds because it's published. Fender doesn't list that information as far as I know but I suspect 9050M flats are close to the same.

I think the main difference about the feel is the P flats feel very slightly floppier or less stiff. Broken in, the texture of the outer wrap on the two feels pretty similar to me but that's something I'm not particularly sensitive or picky about compared to how other people seem. When the 9050m flats were brand new they felt a little bit rougher or stickier, not a big deal.

The GHS P flats have been very consistent as far as tone over time; they've always been thumpy from day one. My P bass with these strings sounds to me very similar to this. The Fender 9050M flats, accounting for the Jazz bass they're on, have always sounded quite different from GHS P flats even as the Fender strings have mellowed.

 

[Phaidrus]

I know the tension of the GHS P flats is 229 pounds because it's published. Fender doesn't list that information as far as I know but I suspect 9050M flats are close to the same.

I think the main difference about the feel is the P flats feel very slightly floppier or less stiff. Broken in, the texture of the outer wrap on the two feels pretty similar to me but that's something I'm not particularly sensitive or picky about compared to how other people seem. When the 9050m flats were brand new they felt a little bit rougher or stickier, not a big deal.

The GHS P flats have been very consistent as far as tone over time; they've always been thumpy from day one. My P bass with these strings sounds to me very similar to this. The Fender 9050M flats, accounting for the Jazz bass they're on, have always sounded quite different from GHS P flats even as the Fender strings have mellowed.

Thanks for replying. Have a set of 9050M on a Pbass for about ten months, played on and off. I suppose they've mellowed a bit so far. I wonder whether they'll keep mellowing or whether they've reached full maturity already. Sometimes I have the impression there's something lacking ("sweetness", for lack of a better word), sometimes they sound fine. Perhaps it has to do with my mood, tone perception can be subjective. Would you say that the 9050M have more mids or hi mids than the GHS P flats?

 

[Grinderman]

Thanks for replying. Have a set of 9050M on a Pbass for about ten months, played on and off. I suppose they've mellowed a bit so far. I wonder whether they'll keep mellowing or whether they've reached full maturity already. Sometimes I have the impression there's something lacking ("sweetness", for lack of a better word), sometimes they sound fine. Perhaps it has to do with my mood, tone perception can be subjective. Would you say that the 9050M have more mids or hi mids than the GHS P flats?

That all sounds reasonably correct. I don't have experience with 3-year-old Fender 9050M flats yet but I don't anticipate their character will become similar to GHS P flats.

 

[Pier_]

just to resurrect a bit this topic.

right now I have a set of Fender 9050M (55-105) on a Custom Shop 1951 and a set of GHS 3050R (55-105) on a Classic '50 P mexico.

both sets have been on the basses since May 2024, mounted new. the CS1951 came stock with those strings, but I had to change them because the G string broke at the tuner after some mount-dismount process for a good setup, and the set got replaced.

they are very different in many things, and, spoiler alert, I'm probably replacing the Fender set with a new GHS set.

first of all the outer/texture feeling:

the GHS feel super smooth, the fingers can run up and down without friction or stickiness; E and A are so flat you can't see the gaps in the winding, D and G show some gaps, but they are still "soft" to the touch.

the Fender set is rougher, you can feel the gaps, and the steel is stickier, it has more friction; even after months and gigs, if I don't play that bass for a couple of days, I have to re-adapt. with the GHS, I fly on them even if I didn't touch them in a while.

then the tension:

the tension is similar, and on the P50 I switched from the Fender 9050M to the GHS 3050R without any truss rod adjustment, I only had to replace the A saddle for intonation, the other strings were quite identical.

however, the GHS set feels easier to play, in particular on the G string, and even at the same identical action and relief, it gives the impression to have lower action. both basses have a 7,25" radius, wide and chunky neck.

last but not least, the sound:

here is where I fell in love with the GHS, but I have to say that I needed a lot of time to actually reach that feeling.

playing alone, the GHS set feels unbalanced, like playing two different sets of strings: the E and A have that fast attack with a lot of fundamental and almost zero harmonics, a smooth and thuddy tone.
the D and G have the same fast attack, but with some brightness, so that you can hear the "click" of the frets.

however, even when brand new, if played in a mix you won't notice it, they balance perfectly and gives you a strong fundamental with a lot of definition, like an heavy hand slapping your face with no regrets.

after some hours, the higher strings lose some harmonics, still sounding "snappier", and the lower strings start to feel more snappier.

playing in a band or recording its a pleasure, and IMHO it's the best pleasure I've ever had in 15 years playing flats.

I have to say that this is not my first set of GHS flats, but I discovered them only a few months ago because I've always been afraid of comments written online, describing them as "too muddy", "too dark", "too thuddy", "too unbalanced", and so I avoided them for years.
then I tried a 45-95 set on a Stingray, and at first the impression was to play with a blanket on the amp, but after a few days I started "feeling" them.
then on a Reissue 51 Japan, where they sounded good since the first note.
so then I decided to switch to the 55-105 set on the Classic 50, and now I'm here, fell in love


talking about the Fender, they are what we usually define "modern" flatwounds, with a balanced string-to-string tone, more sustain and a lot of harmonics.
I like them, I like the gauge, and these two brands are the only one selling it, and I got caught by it when I tried (and then bought ) the Custom Shop strung with them.
however, what I noticed after some months and some gigs, even on a couple of 45-100 sets I tried prior to this, is that they are bright, they have harmonics, they are strong on the higher mids, but somehow lack on the "bottom", on the low mids and the "meat", and when the dynamic of the song is higher, with all the instruments in, I feel that the bass gets a bit lost.

it's a thing I've noticed with most "modern flats", and obviously can be corrected with some EQing, but here we are talking about strings and IMHO the less you have to do to reach your sound, the better it is.

IMHO, if looking for the classic Fender "vintage tone", the one heard on many records, the easiest way is with GHS flats. they are a "one trick pony with a twist", because yes, they sound thuddy, "chocolate", but even outside the classic "vintage references" they are actually usable.

the Fender, like other modern flats, are strings with a "flatwound vibe", I don't know if I can get the idea.

I'll let you know how the GHS will work on the CS51

 

[Pier_]

here are some comparison, on the same bass, the Precision Classic 50:

first, with fingers:

Fender 9050M: Dropbox

GHS 3050R: Dropbox

then with a pick:

Fender 9050M: Dropbox

GHS 3050R: Dropbox

hope it helps compare different strings on the same bass

as you can hear, the Fender are brighter, with a lot of metallic edge, but they "fill" the mix in a different way. even if they seem to have clearer and preciser notes, in particular when the bass is soloed, once the other instruments come in, the sound takes a different place in the mix, and the definition of the notes is different.

personally, I prefer the GHS, since I don't play much at home alone, so I don't even have the occasion to hear the bass alone with the thuddy and "dead" E string
I use to hear it in the band mix, where the strong fundamental kicks every ass a mile away.

 

[e-flat]

GHS P Flats continue to be some of my favorite “classic” flats. I have an old custom set (100/75/55/45) I put together for nice balanced tension, and they’re perfect. I still think GHS should offer these as an “off the shelf” set.

 

[Iristone]

Incidentally I thought these sound like uprights on my Gibson SG Bass. Much more than any nylon tapewounds I've tried on it. I may try it on a P bass one day - maybe on a Squier CV! But my favourite flats is still Rotosound 77, and my favourite dark flats is still La Bella 760.