TI Jazz Flats rule for me...

[Tom7]

... They last for a very long time (8 years on my oldest set). It takes a few days of playing for them to develop their best sound and then they stay like that.

REALLY?! Wow. I'm glad I made recordings of my bass the day I put the TI flats on. I'll play it awhile and break them in then make more recordings, and then compare their tone over time and see how long the strings work for me. If they can last that long, I've got another fretless bass I'll put them on as well, and leave one of my fretless basses on roundwounds still.

In terms of adjusting, many of us go back and forth between a DB and an EB. Adjusting to "whimpy" tension should be nothing compared to that adjustment, right?

Although in defense of those having a hard time adjusting, sometimes our attack or other subtle techniques count on the strings being a certain tension, and a certain gauge and a certain height for us to get a certain sound. Maybe it isn't a matter of not adjusting, but of not having that same playing style now that one of these variables has changed. I can see that as a valid argument.

 

[Horny Toad]

.... Any decent player can adjust to the slightly lighter tension in a matter of minutes......

One may or may not adjust to the light tension, regardless of one's level of playing.

 

[62bass]

REALLY?! Wow. I'm glad I made recordings of my bass the day I put the TI flats on. I'll play it awhile and break them in then make more recordings, and then compare their tone over time and see how long the strings work for me. If they can last that long, I've got another fretless bass I'll put them on as well, and leave one of my fretless basses on roundwounds still.

In terms of adjusting, many of us go back and forth between a DB and an EB. Adjusting to "whimpy" tension should be nothing compared to that adjustment, right?

Although in defense of those having a hard time adjusting, sometimes our attack or other subtle techniques count on the strings being a certain tension, and a certain gauge and a certain height for us to get a certain sound. Maybe it isn't a matter of not adjusting, but of not having that same playing style now that one of these variables has changed. I can see that as a valid argument.

I'd be interested in a recorded record being kept of the Thomastics. I know when I finally changed the 8year old set they still had life left in them. But I figured it was about time to change them with a new set and considering I paid $60 Canadian, tax included for that set, it cost me less than $8 a year.

Granted, you won't sound like Marcus Miller, but for me that's of no concern. And if I ever do join a Marcus Miller tribute band and hit the Holiday Inn circuit, I have an unused set of roundwounds stored away somewhere.

The "wimpy tension" comment made earlier makes me laugh. They certainly aren't anywhere being wimpy and the resulting sound isn't wimpy either.

Yes, changing from DB to electric is quite an adjustment compared to changing between heavy Labella flats and Thomastics. DB gives you quite a workout compared to electric.

This discussion seems to go on and on and flares up again at the mere mention of Thomastics. It's amazing to me how much controversy a brand of strings can create.

 

[jasper383]

I'd be interested in a recorded record being kept of the Thomastics. I know when I finally changed the 8year old set they still had life left in them. But I figured it was about time to change them with a new set and considering I paid $60 Canadian, tax included for that set, it cost me less than $8 a year.

Granted, you won't sound like Marcus Miller, but for me that's of no concern. And if I ever do join a Marcus Miller tribute band and hit the Holiday Inn circuit, I have an unused set of roundwounds stored away somewhere.

The "wimpy tension" comment made earlier makes me laugh. They certainly aren't anywhere being wimpy and the resulting sound isn't wimpy either.

Yes, changing from DB to electric is quite an adjustment compared to changing between heavy Labella flats and Thomastics. DB gives you quite a workout compared to electric.

This discussion seems to go on and on and flares up again at the mere mention of Thomastics. It's amazing to me how much controversy a brand of strings can create.

I think the controversy stems from TI Flats being unique. There really isn't any other string quite like them, is there?

Things that are unique draw believers and deniers.

 

[Mastermold]

Try them first on your Ric basses. Give them a few weeks of playing before you decide on the sound. They seem to stiffen up some after they've stretched in. Don't know why.

I don't know the definition of "thump". It's used a lot here with seemingly different meanings. I can say they've got a full solid bottom and very musical mids.

If you want the "old school" sound, play with a pick and a slight bit of muting under the strings at the bridge. Not a lot of muting like the wannabe Motown experts advocate today, but the way it was done back then--only enough muting to get rid of any annoying high frequency ring.

I posted a query about TI flats at the Ric forum and a lot of players there love them on their Rickys.

 

[Tom7]

I'd be interested in a recorded record being kept of the Thomastics. I know when I finally changed the 8year old set they still had life left in them. But I figured it was about time to change them with a new set and considering I paid $60 Canadian, tax included for that set, it cost me less than $8 a year.

Granted, you won't sound like Marcus Miller, but for me that's of no concern. And if I ever do join a Marcus Miller tribute band and hit the Holiday Inn circuit, I have an unused set of roundwounds stored away somewhere.

The "wimpy tension" comment made earlier makes me laugh. They certainly aren't anywhere being wimpy and the resulting sound isn't wimpy either.

Yes, changing from DB to electric is quite an adjustment compared to changing between heavy Labella flats and Thomastics. DB gives you quite a workout compared to electric.

This discussion seems to go on and on and flares up again at the mere mention of Thomastics. It's amazing to me how much controversy a brand of strings can create.

I think I'll take this on. I'll record these lines again every 1 to 3 months or so I can document audiblly how my TI flats are aging.

Speaking of Marcus, I just received this week a Nordstrand Nordy vJ5 (ash with maple) with Big Split pickups, and guys were asking me how its slap tone compared to my Fbass BN5, [Invalid or Expired Link Removed]. Once again I'm playing someone else's lines, but it seems like familiar lines give people a better basis for comparison in situations like this. The 1st 4 bars are with the Nordy, the 2nd 4 measures are with the FBass, the 3rd phrase is with the Nordy again, and the 4th with the Fbass again.

Thomastik Infeld Jazz Flats will never do this, but I have other basses with other strings that will. What I want TI flats to do for me they are doing surprisingly well.

I saw The Police last night. Sting played is signature '53 Fender Precision bass. I'm pretty sure he had flats on her, and while it sounded good on some songs, other times he tried to pop and all we heard was a honk like a semi-truck beeping hi.

Not every string or every bass is ideal for every situation. It's just a fact of life: one size doesn't fit all.

But if people want what TI flats offer, they really do nail it well.

 

[edbutler3]

I finally took the plunge and ordered a 5-string set of TI Flats for my Mike Lull P5. This will be an interesting (and somewhat expensive) experiment, because I have almost no experience with flat wound strings at this point. The controversy around the tension issue intrigues me as well. I'll be a good test-case for that, because I have a particularly heavy-handed picking style. In fact, I may be exactly the kind of player who should NOT use these strings. We'll see...

I'll report back in a few days after I've received the strings and tried them out at a rehearsal.

 

[Tom7]

I'll report back in a few days after I've received the strings and tried them out at a rehearsal.

Looking forward to that report.

If you haven't used flatwound strings before though, then keep in mind that the difference for you will be more pronounced than for those of us who have.

Don't let that put you off. Give 'em a chance.

However, if they don't work out for you, I may buy 'em from you to put on another five string fretless I have that currently has taped flats.

 

[ljazz]

I finally took the plunge and ordered a 5-string set of TI Flats for my Mike Lull P5. This will be an interesting (and somewhat expensive) experiment, because I have almost no experience with flat wound strings at this point. The controversy around the tension issue intrigues me as well. I'll be a good test-case for that, because I have a particularly heavy-handed picking style. In fact, I may be exactly the kind of player who should NOT use these strings. We'll see...

I'll report back in a few days after I've received the strings and tried them out at a rehearsal.

A few days is nowhere near enough time. In fact, if thats all of the time you have to try them out, then I wouldn't even waste the time. The coating on the TI's (rosin perhaps?) doesn't even wear off until you've played on them for several weeks (it'll make your fingers feel funky for a bit too). After those few weeks go by you start to get a good glimpse of what they sound and play like. It's been said several times in this thread, but they do tend to get a bit stiffer as they break-in. I actually believe that contributes to the sound of the strings.

It helps to not think of the JF's as a flat, but as something all their own. With the exception of the strings feel (smooth), they sound and play nothing like other flats I've used. Yes, you can make them thumpy.... heck, I can make ss rounds thump if I have to.... but these strings are a fingerstyle players dream. Beautifully dark tone, with singing mids.... comfortable to play.... no finger noise. If you pick hard, raise the action a bit. The strings are light enough that you'll hardly notice it.

Ljazz

 

[edbutler3]

A few days is nowhere near enough time. In fact, if thats all of the time you have to try them out, then I wouldn't even waste the time. The coating on the TI's (rosin perhaps?) doesn't even wear off until you've played on them for several weeks (it'll make your fingers feel funky for a bit too). After those few weeks go by you start to get a good glimpse of what they sound and play like. It's been said several times in this thread, but they do tend to get a bit stiffer as they break-in. I actually believe that contributes to the sound of the strings.

It helps to not think of the JF's as a flat, but as something all their own. With the exception of the strings feel (smooth), they sound and play nothing like other flats I've used. Yes, you can make them thumpy.... heck, I can make ss rounds thump if I have to.... but these strings are a fingerstyle players dream. Beautifully dark tone, with singing mids.... comfortable to play.... no finger noise. If you pick hard, raise the action a bit. The strings are light enough that you'll hardly notice it.

Ljazz

Point taken...

I didn't mean to imply that I was going to try them for a few days and then ditch them if I'm not immediately thrilled. I'm committed to giving them a serious chance. This is not my primary bass anyway (I use DR SunBeams on my main 6-string) so I'm looking for something with a very different sound and feel, so when I switch basses the change is pretty major. Maybe it will even inspire some new ideas?

 

[ljazz]

Listen to Pino's tone on this:

http://www.youtube.com/watch?v=sJNrCaio4js

Not exactly thumpy like traditional flats..... nothing bright and snappy like rounds though ..... just nice, round and even tone.... TIJF's on a Pbass.... absolutely beautiful. (and Steve Jordan is a friggin' monster!)

Ljazz

 

[wateroftyne]

I've had a set on my fretless P for the last three weeks or so... I've just sold them on.

Add me to the 'Sound great, can't get on with the low tension' list.

A shame, but.. there you go. Back to my La Bellas.

 

[Tom7]

... Add me to the 'Sound great, can't get on with the low tension' list.

A shame, but.. there you go. Back to my La Bellas.

I wonder why things like this don't bother me? I've always thought of myself as fussy about certain things. For instance, I trip like crazy when I play basses without a 19mm string spacing. My finger ramp isn't exactly as long as my pickups, and I catch my fingers on its corner, bruising them slightly as a result. Exposed core strings drive me nuts when I try to play over the bridge pickup... but for some reason the string tension doesn't bother me at all. In fact, I think I like it.

Go figure.

 

[lump]

A few years back I went through the inevitable "flats phase." I loved the TIs on my Sadowsky and swore I would never go back to rounds, but eventually I missed being able to do my slap wankery and took them off. They've been languishing in my gig bag ever since. This thread inspired me to put them back on. It required a major re-setup (esp w/ the non-taper B), but I am SO digging them. The reality is that although I enjoy making Slap Noises, I do very little of it live, and at high volumes, you can get a pretty funky old-skool slap tone out of the TIs.

As for the tension, they are definitely tighter than the Sadowsky nickels I just took off and the B is more focused. Never quite understood the low tension argument, but maybe it depends on the bass or it's just in relation to other flats. We'll see how long this phase lasts, but right now I can't put my bass down.

 

[Tom7]

A few years back I went through the inevitable "flats phase." I loved the TIs on my Sadowsky and swore I would never go back to rounds, but eventually I missed being able to do my slap wankery and took them off. ... The reality is that although I enjoy making Slap Noises, I do very little of it live, and at high volumes, you can get a pretty funky old-skool slap tone out of the TIs.

You need more basses! Here's my family photo (taken today). I have TI Flats on the fretless Fbass AC6 (4th from the left), and I'm going to put another set on the Barker (6th from the left, tall & black) as soon as UPS delivers them.

[Invalid or Expired Link Removed]

 

[hoyabill]

guy...i just bought a G&L tribute L2500.....I am going to try TI (JF345) set out...any thoughts about whether I should go through the body or use the bridge?
thanks

 

[Tom7]

I strung my fretless Fbass AC6 (6-string) through the body and love it -- then again, it's wooden bridge doesn't let me string through it, so it's not like I had a choice. :-/

Obviously I can't speak for bridge stringing, but the TI Flats are long enough for a 34.5" body stringing, and they made the bends just fine.

 

[Horny Toad]

I don't know - maybe my memory is fuzzy, or maybe my playing style has changed, but I'm really loving the Jazz Flats on my L2K and Precision. I've played a few gigs with the L2k through my GK 1001RB-II into my Schroeder 610, and the tone is to die for. I was afraid I wouldn't be able to effectively cut through three guitars, loud drummer and keyboards, but it's effortless. The tension is fine too. I remember them being floppy, but that isn't the case at all. Sure, I had to make bridge saddle and neck adjustments, but once done, they feel fantastic. I was thinking I might want to try LaBella's on the Precision, but now I'm not sure it's worth spending the money.

 

[lump]

You need more basses!

Nice family.

Unfortunately, I'm a "signature bass," one voice kinda guy. I actually have two--I only play one. If I had 50, I'd still only play one. It's kinda weird, and probably because I used to be a brass player ("Hey, look at my collection of tubas--this one's never been played"). It's also why the flats are appealing to me so much right now. I can't think of another instrument where you continually swap out such a critical component of the tone, and I'm tired of chasing it around. I want my bass to sound the same every time I pick it up, instead of a 2-3 week sweet spot in between breaking in and wearing out rounds. Time will tell, but I think I've officially become a member of the "old guy with flats" club.

 

[Tom7]

Nice family.

Thanks. I'm about to sell my seldom played basses off and wanted to have a group shot before they departed.

Unfortunately, I'm a "signature bass," one voice kinda guy. I actually have two--I only play one. If I had 50, I'd still only play one. It's kinda weird, and probably because I used to be a brass player ("Hey, look at my collection of tubas--this one's never been played").

Former French Horn player here, but then again, the French Horn isn't used often in a jazz band, then a rock band, then a country band, etc. My basses are. Because I don't play with just one band or just one style of music, I like to have basses with different voices so I can use the right tool for the job. I need standards though, such as 19mm string spacing.

It's also why the flats are appealing to me so much right now. I can't think of another instrument where you continually swap out such a critical component of the tone, and I'm tired of chasing it around. I want my bass to sound the same every time I pick it up, instead of a 2-3 week sweet spot in between breaking in and wearing out rounds.

Very well said.

Time will tell, but I think I've officially become a member of the "old guy with flats" club.

[Laughing] Maybe you should start the club here on talkbass and assign #1 to yourself.