*TI Flats MegaThread*

[tallboybass]

Hi, I'm new to the world of TI Flats. After doing a Lot of searching...there are many small threads on these strings but nowhere you can go and find the definitive thread for info on these babies. Hopefully, this might be it.

After having these strings on my Fender Hot-Rodded Precision Bass (PJ setup) for One Month, I've got a bit of a love/hate relationship with them at the moment, The A string has a very lovely fretless Mwaah sound that I love (and the bridge saddle must be moved farther toward the neck to properly intonate, compared to the others), while the other 3 sound like more 'normal' but very mid-oriented flats. I've seen different threads that talk about some inconsistencies like this.

Thomastik Flats, Inconsistent? | TalkBass.com

Finally have given up on TI Jazz Flats | TalkBass.com

The feel and balance are great, I want them to work out. Been a 'flats lover' for quite a while now, these strings are obviously quite different from the other flats out there! I'm going to try leaving them on the PJ a while longer, hoping things settle down. But, thinking about the tonal characteristics of these strings, it seems like they might be better suited to a Jazz Bass...what do you think?

Feel free to post links to other TI Flats threads that have good information in them and/or share your own thoughts and experiences.

Thanks,
Alan

 

[Pier_]

while the other 3 sound like more 'normal' but very mid-oriented flats.

as I usually say in these topics, they even with time, and the A string becomes more "flat" in sound. however, raising a bit the saddle makes it lose the buzz and "mwaah". you don't need to raise it much, just a bit considering that the string is a .070".

But, thinking about the tonal characteristics of these strings, it seems like they might be better suited to a Jazz Bass...what do you think?

I've used them for four years on my Precision, and they still are the best flats I've ever used for both feeling, tension and sound.

I've had a "spare set" used on basses passing through my house, so I've tried them on a couple of Jazz Basses (a Squier VM 70's and a Squier CV 60's), on a G&L L1500, on a Classic 50's Precision both original and with EMG pickup, and then on a Mustang bass, and I've had a JF345 set on a Yamaha BB415.

the most important thing I always notice is that they "let the sound of the bass come out", so you'll experience different nuances with every bass. with some strings (in particular Rotosound Swing, DR Hi Beam and GHS Boomers) I've noticed that the sound of the bass is somehow "covered" by the strings; this doesn't happen with Thomastik.

on top of that, the fact that they are well focused on the mids makes every bass cut through the mix with ease.

they also sound good with overdrives and distorsions.

 

[tallboybass]

Cool Pier, very helpful post, thanks!

I'll try raising the A saddle...and the D saddle could come up a hair too, it's a little rattly. Is it a good assumption that these strings require a little more neck relief than others that don't vibrate quite as much?

They might get moved over to the Jazz....we'll see.

 

[Pier_]

Is it a good assumption that these strings require a little more neck relief than others that don't vibrate quite as much?

yes. they are both light gauge and roundcore.

the round core makes them more flexible, compared to usual hex core strings, and the light gauge (in particular on the D and A string) makes them even lighter.
if you just "count", a .056" and a .070" could come from a 35-90 set of strings, so you have to raise a bit them.

usually I say that Thomastik sets need a specific setup, due to the unique gauge.

in a typical 45-105 or 40-100 set the D is a .060/.065, and the A is a .080/.085, a big difference from the TI set!

however, once they settle, and loose the brightness, you can easilly lower a bit action and relief, and probably you'll be used to their tension and don't smash them (to me it takes a while to get used to them)

 

[tallboybass]

They're already settling down on the high end. I still feel like their tonal character would compliment a Jazz, since the J can be so scooped with both pu's dimed.

The best part is...the TI's make me want to sit around and PLAY with the bass unplugged! It's been a while since a string has done that for me...

Honestly, that singing A string is magic, I wish they all sounded like that! I feel very much at home on them, my technique is well suited to these beauties. They've got a real 'buttery' feel to them!

 

[BigfellaBass]

The following story must be read from a "one bass owned" guy perspective.
I was very surprised to find that, against all advice, this strings worked fine for a drop C tuning. I extensively used Ti Flat (same set) for a good 3 years lapse before downtuning them. Then, a new band I joined required drop C tuning (QOTSA influenced at first), so I thought "let's try flats downtuned, if it worked for Oliveri..." Turns out these beauties performed with flying colors (of course, I had to raise the saddles way high and give a lot of neck relief to cope with the extreme low tension).
Nowadays I went back to standard E tuning, and back to rounds as I wanted to slap a bit. Guess what: after a month, out went the rounds (DR Lo-riders) and back came Ti Flats. It's just not "my bass" anymore without TI flats.
so, you now learned something you probably didn't know: these strings can be downtuned all the way to drop C with no major issues.

 

[tallboybass]

Very interesting, BigfellaBass! Just last night I tuned mine down to Eb, since I play in a band that requires that. They seemed just fine. 50-105 Ernie Ball Slinkies on a passive Jazz are what I usually use with that band, and they work great, but the TI's have their own thing going on.

 

[Luckydog]

I've used mine drop D and they are fine.

 

[Pier_]

here's my 4 years old set in dropD:

 

[joebar]

I have had my set on my fender P for a year and they get better with time
I cannot imagine a better string for this bass.
they feel so good on the fingers too.
very unique tonal profile; especially for a flat. not bright but not dull. aggressive sounding in their own way yet fit perfectly in a mix.
they did not sound good at all on my jazz though.

 

[tallboybass]

they did not sound good at all on my jazz though.

Hey Joebar, could you explain further about why they didn't sound good on the Jazz? Gotta admit I'm surprised to hear that, others have been pleased with them, and the tonal profile 'seems' like it might compliment J basses.

 

[joebar]

Hey Joebar, could you explain further about why they didn't sound good on the Jazz? Gotta admit I'm surprised to hear that, others have been pleased with them, and the tonal profile 'seems' like it might compliment J basses.

I dunno-
I naturally thought that if they sounded good on a P, they would sound good on a J.
I played them for a few months and desperately wanted to believe I liked them. the bass didn't sound right; even a friend of mine whom I trust thought my jazz was missing something.
I decided to put rounds on it and the bass woke up in every way. I almost sold it because I assumed it was a lemon.
these strings on a P are so perfect though, one would almost believe that fender made them specifically for the P.
I should note that I took the rounds off the bass as soon as I got it and I admit I wasn't terribly familiar with jazzes; I didn't have much to compare the flats to at the time.

 

[Pier_]

I naturally thought that if they sounded good on a P, they would sound good on a J.

it all depends on what we are seeking in terms of sound. the "P bass history" is full of flatwounded examples, even today, but the "Jazz Bass history" has fewer examples of flatwound sound.

Joe Osborn, maybe the first two Led Zeppelin albums, something from the Abbey Road album (but usually with V shaped eq, with McCartney experimenting new sounds), Aston Barrett... who else? I knew that the bass player from Steve Miller's Band played a Jazz with flats (clearly heard on "The Joker")... who else is well known for the Jazz Bass & Flatwound sound? Larry Graham back in the 70's?

the Jazz is more often associated with roundwound strings, since the 70's, from John Paul Jones to Jaco, in the funk/disco era...

simply we are not used to that sound

just like the Rickenbacker: the iconic players used rounds, overdriven tones, a pick... and that's how we think that a Rick should sound! we can't imagine a Rick played in slap, or without the aggressiveness of a pick (even if McCartney played it with flats in the most part of the Beatles discography, since Rubber Soul), even if it sounds wonderfully played in every way.

the P-bass with flats is still one of the most used and recognized sounds

 

[tallboybass]

I'm sure you guys are right, it's just that a Jazz with worn in flats is probably The setup to play for 'my sound'.

 

[Burwabit]

I have a Jazz with TI flats, Aguilar 60's single coils, and an Audere pre. It's tonal heaven. AND I play it in drop D some.

I've also used TI flats on a P/J 5 with MUCH success.

 

[tallboybass]

Thank you all SO much for the input!

I'm trying to keep them on my P bass because that's where I need flats the most. They feel so good, but have a bit of a nasal midrange component that is annoying sometimes. Playing the bass unplugged, I Love them! Ideas on that excessive upper mid content?

 

[Pier_]

Ideas on that excessive upper mid content?

that's where the magic begins when you play them in a band, there's no way to get lost in the mix. are you using them with a band?

don't mind about it, just think about the fact that with TI's sound you won't get lost.

 

[tallboybass]

Yes, playing in a band you can still hear that sound. I need to hook up a parametric EQ and find that frequency. I like it more when dialing in a little of the J pickup in back, it smooths that honk out a little.

 

[Freekmagnet]

It just so happens I put TI's on my Jazz and my StingRay last night. I just got the 'Ray, but I had LaBella's on the J previously. I liked the LaBella's a lot, but hands have been getting tired after long gigs. Compared the the LaBella DTF's, I miss the the tighter feel they have as opposed to the slackish feel of the TI's. I haven't played them on the Jazz much yet, but the extra mid range they have seem to bring out that "Jazz Bass" sound while the LaBella's seem to be a little too scooped in the mids to make that particular bass come alive.

Since I just got it, I've been playing the MusicMan more, and so far so good. After a little bit of playing, I can already feel the sharpness roll away and I'm starting to get that "bwomp!" sound from the E string that I like. The Jazz is still sounding too zingy for me, but maybe next week I'll start playing the Jazz a little more again and the strings will wear in a bit.

The jury is still out for me with the TI's. The lighter gauge is really, really tough for me, but I'm trying to adjust in order to give the old fingers a break. If I can get used to the feel, and the strings start to develop a nice whumpy tone, I'll keep 'em.

 

[tallboybass]

I'm kind of the opposite, loving the low tension but not sure the tone is going to be usable for me. Mine are wearing in nicely, the highs are getting more mellow now with daily play for a month. These strings make me want to play my PJ unplugged, it's when i plug in that it doesn't sound exactly right. Still gonna give them a fair shake!