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*TI Flats MegaThread*

#41
Tonight at rehearsal I got to compare the PJ with semi-worn-in TI's to the Jazz with new 9050CL's (45, 60, 80,105). They sounded surprisingly similar! LOTS more tension on the Fenders and the Jazz sounded quite a bit thinner than the PJ. I ended up much preferring the PJ for its note heft and slinky stringage...and I am a J Bass man through and through! Sadly, I may end up putting rounds on the Jazz because it really seems to like them. When I first got it, it had the stock Fender rounds on there (7250's?) and it sounded great, even though they were definitely not new.
 
#42
Christcr said:
it feels as if I'm missing something that I do want to be able to hear
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this depends on basses and needs. flatwound strings sound "dead" on the upper high end, because they are focused on mids, with tight lows, to cut through the mix taking the position between drum and guitars, on the frequencies they both miss.

in most cases of "band situation" the brightness of rounds is useless, because it's covered by the brass section of the drums or by the guitars, and makes the bass feel too harsh and a bit lost. you can easilly hear the brightness when the guitars come out of the tune, for example.

it all depends on the music context, the band needs...

I usually separate the "bass alone" sound and the "bass in band" sound. for example, I like my Mustang with the DR Hi Beam 40-95, alone it's wonderful, but in a band contex it lacks definition on the mids and has too much basses.
with TI flats or rounds there are less basses and less highs, the sound alone is not so good, but once in a band, it's a punch in the face and so defined everyone notice my mistakes ahahah :D
 
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#43
Total agreement there, Pier. I spent a lot of time trying to get that sound that was in my head from older recordings. A tight, mid-rich, defined sound that slotted into the mix effortlessly. After much wheel-spinning, I re-discovered it was Flats, from my early days of playing, that were the main ingredient in this sound.
 
#44
tallboybass said:
hat were the main ingredient in this sound.
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really! I've noticed that from the 80's to the early 2000 flats became an unknown thing, obscured by roundwound brittle, gritty sounds, metallic slapping... now it's a few years that flats are back on the shelves of every store, and produced by every brand (even DR, who didn't have them until 2009), in many different ways, even with new formulas (like the new Ernie Ball).

that's a good thing, because it's easier to find them in stores, online, and try different brands. for the music I hear today, it's like if now rounds are "vintage" strings to achieve tones from the golden 80's and 90's music, and flats are the standard :P
 
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#45
Added to "Watched Threads". :thumbsup:

Love TI Jazz Flats... use the 345 set on two Rick Turner Electroline basses, and an Alembic Persuader.

Also use the Jazz Rounds on a Gibson Thunder Series fiver, and the Acousticore set on two Turner Renaissance basses, also five-strings.

No affiliation with Turner or TI... just like 'em, especially when used together. :hyper:
 
#46
Does anyone else cringe at the price? It took a lot of contemplation to jar loose with $75 for One 4-string set of bass strings. I know they're awesome and they last forever, but I'm used to paying no more than about $25 per set. Why are they triple the $$$?
 
#48
tallboybass said:
Does anyone else cringe at the price? ...Why are they triple the $$$?
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Some of the inflated price may be the USD/Euro exchange rate. (TI is Austrian IIRC)

They are expensive for sure, but I'm willing to pay more for strings that sound and feel like I want.
 
#49
OK TI Flats Users, what is the quality that attracts you most to these strings? 1) Low tension/easy on fingers. 2) Overall sound. 3) Balanced tone & tension. 4) High output. 5) "Makes me feel special, spending so much for strings!" (sorry.couldnt.help.it) :D
 
#50
jdy said:
Has anyone noticed that the A string retains more "zing" than the other strings?
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yes. always remember that is a .070, like if it was from a 35-90 set. the texture on E and A strings is a bit rougher compared to D and G, because it helps avoid the "thumpy-dead" lower strings like in Labella's and Pyramid's flatwound (and other vintage flats).

tallboybass said:
what is the quality that attracts you most to these strings?
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low tension and sound.

the price does not makes me feel special, I'm the opposite kind of guy :D I can act like a peacock if I can get what I want from cheap gear, but often I smash against the wall of quality.

for example, I'm proud of my Squier Classic Vibe Stratocaster, is awsome, lowest action I could imagine on a guitar (I've had good Ibanez, and this poor Squier kicks them), excellent craftwork, solid truss rod (I adjusted it almost two years ago, with a set of Elixir, and even using it every week at the reharsal and for recording and stuff, it's still firm in it's position), overall good pickups that never made me think about an upgrade. it also enchanted a jazz player i know who immediately decided to buy a couple of CVs.

that's a total win, because prior to this one I've always had good guitars, even tried the American Vintage '62 Strat of a friend of mine, but couldn't be satisfied. this one fills my needs, and 250 euros used... coudn't be happier.

with basses I've never had the same luck :( cheap things at least were "good enough", but never that good to cast a shadow above quality gear.

the only thing really cheap I've used with bass was the Harley Benton 40 set of strings. 5 euros, nickel (but opaque like steel, so imagine the quality), I've never ever changed a set because it died. NEVER. only changed them when I got bored of their sound (a bit "anonymous", nothing special), or to sell a bass with new strings.
 
#51
tallboybass said:
OK TI Flats Users, what is the quality that attracts you most to these strings? 1) Low tension/easy on fingers. 2) Overall sound. 3) Balanced tone & tension. 4) High output. 5) "Makes me feel special, spending so much for strings!" (sorry.couldnt.help.it) :D
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Pretty much all (including n°5... kidding)

Specially the balanced tone and tension, along with high output. Also, they are very easily made to sound "not vintage" if you need them to. High output makes any OD sound fantastic (and focused, with almost no chaotic highs screaming all over the place). They play beautifully with active EQ'd basses (my only axe right now is a 2001 Schecter custom 4 - the same ones that were rebranded as "Stilletos" later on - with EMG HZ pickups and 2 band active EQ)... you get the picture. There's no such thing, of course, as the perfect string set, but when I balance out pros and cons, this strings give me solid value. Even at the steep price.
 
#53
I am about to try TI's for the 4th time. Last time I tried them, They sounded fantastic on my Ric 4003 but were just a bit too floppy. I have RotoFlats now but I'm just not digging them. My G&L LB-100 sounds better with it's stock Rounds. So I have a new set coming but can't decide which bass to put them on. I am leaning towards the LB-100(P-Bass). And probably putting the stock Rounds on the Ric again.
 
#55
I think what I like most is number 3). A pretty even tone throughout the strings. Though I think I'm going to try some pyramid flats soon. I've been rocking these TI's for a year and feel like trying something new. Great strings and I am definitely used to the tension now. Many other flats feel too stiff. A little worried about transitioning.
 
#56
FunkHead said:
I am about to try TI's for the 4th time. Last time I tried them, They sounded fantastic on my Ric 4003 but were just a bit too floppy. I have RotoFlats now but I'm just not digging them. My G&L LB-100 sounds better with it's stock Rounds. So I have a new set coming but can't decide which bass to put them on. I am leaning towards the LB-100(P-Bass). And probably putting the stock Rounds on the Ric again.
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Got me a LB100 in production and thought about starting right off with the TI Flats. So let me know what you decide, curious to know your take .
 
#59
FunkHead said:
Any recommendations?
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light gauge Chromes, or light gauge Pyramid. they are on the opposite side of the sound spectrum, however: Chromes are bright and "roundwoundish", keeping a brighter tone even after they settle in, and they are balanced in terms of sound, with the E string sounding clear and sustained.
Pyramids are "dead thumpy" flats, with the E and A muted since the very beginning, and when the D and G settle in, they sound the same; they are beloved by Hofner players (and they are the stock strings on german made Hofners) because of this instant decay that makes the Hofner sound like an upright.
 
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#60
"Any recommendations?"

I would heartily recommend the discontinued Fender 9050CL set if they hadn't discontinued them. However, the 9050L set is exactly the same with a .100 in place of the CL's .105. IMO it really needs the bigger E string.

So I'd have to recommend a set of Chromes built from singles...45-60-80-105. That is as balanced as you can get for Chromes. Or if you want lighter gauge, 40-55-75-100.

I'm new to the balanced tension thing but a big believer already. It has cured my main problem with uneven sounding strings. YMMV
 
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