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What flat wound strings?

I do have Chromes ECB81 fitted (45, 65, 80, 100) but i am not loving the extra tension in comparison to rounds.

I have heard/read that the tension on the Fender flats are lower than that of Chromes... From there my question about the tension difference. The La Bella low tension has significantly less total tension than Chromes.

Question is, what will be the total tension difference between Fender 9050L and Chromes ECB81?

Based on my experience, I would say the Chromes are slightly higher in tension (ie stiffer), especially the 45G and 65G.

I like the Fender 9050CL (45-60-80-105) the way they're perfectly balanced right from the factory:
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If you want to try the Chromes, I would suggest you get the custom set, 45-60-80-105, from BSO:
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Question is, what will be the total tension difference between Fender 9050L and Chromes ECB81?

According to the info on the D'Addario website, the ECB81 has a total tension of 199.75 lbs. Based on my experience, my guesstimate for the 9050L would be 180 lbs. and maybe 185 for the 9050CL.

Keep in mind, though, there is a difference between "tension" (pulling weight on the neck) and "stiffness/flexibility". What I like about the Fender flats is they don't feel as stiff as the Chromes, especially the G and the D.
 
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Thanks for the suggestions folks. As suggested I'm going to get a set of chromes and and a set of Fender 9050's and use that as a starting point. I just picked up another bass so can leave one with rounds on for a different tone and feel for comparison. Regarding the buzzing, it really isn't bad and I'll be honest and say it's driver error..... My lack of technique. However I'm getting better and enjoying every minute, the bass is real cool and it's hard picking my guitars up when I need to rehearse for the other band I'm in.

Neither of these are "traditional-sounding" flatwounds. If you want their tone and feel, great. If you're not sure what you want, you should try to describe the tone you seek and the application in which these will be used. There are a boatload of flatwounds out there these days, with significant differences. Its not like the old days anymore. You can spend a lot of money and time trying out flats, but if you are just buying the strings that someone else likes, you may be wasting your money and time. Go about this with a plan in mind and you'll spend less money and hit your target much quicker.
 
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A bit of back ground info. I primarily play 6 string in Classic/ hard rock covers band and have been playing on and off for around 30 years. This band has not been very busy for a few years with the odd gig here and there but mainly charity functions. So the drummer and myself got bored and decided we wanted to get a side project going whilst other band members decide what they can or want to do. I had bought a bass a few years ago but never really bothered with it so decided to pick it up and start a simple 3 piece blues/ rock band. We are playing som ZZ, Gary Moore, Free and Black Crowes to name a few. Gear wise I have Sandberg Jazz Type and P type basses which I guess will sound more modern than old Fenders and running them through an Eden W550 and an Epifani 3 x 10. As I say I am new to bass and don't really have a bench mark player or tone so to speak and am generally happy with my sound but have no long term knowledge or experience with bass gear generally and I have almost stumbled into the gear I have.

Thanks for all the replied so far. :cool:
 
I currently use Sadowsky SBF45 flats on my Sandberg VS4 bass. Works great for rock and blues, both with pick and fingerstyle. Some flats sound bad when played with a pick, but IME LaBella, Chromes and Sadowsky sound good with a pick. I like the advice from @Luckydog though. Any example of the tone you're looking for would be helpful. Lot of ground to cover between Steve Harris' sound and Pino Paladino, for instance.
 
If you are doing classic rock indoors (for the most part) with a 3 piece ala SRV-type setup, to be honest with you I would bring out the jazz. Not because Tommy Shannon or anything. But because there is sonic room to hear the small nuances of the jazz that do not (IMO) get heard in a louder, larger band. And, although lots will disagree with me here, I would use rounds. Also because of the space created for a jazz type bass, with its higher highs, and lower lows to be heard.

If, however, your project were a busier mix with keys, another guitarist, etc, I would bring out the P. If the busier band were playing outdoors, I might use rounds or flats on the P, depending on how the bass is mixed to FOH. If the keyboard player has a heavy left hand, as many do, which frustrates the cr*p out of bass players, I would probably string the bass with a somewhat neutral flat, such as Sadowsky, or possibly a set of TI's or, (if you dont mind slightly higher tension) chromes. Those will allow you to hit with thick punch, and the punch will be in the frequs that key guy isnt hogging as much. The TIs are very low tension, and the least "flat sounding" flat, but still cut through and have the basic flavor of a flat. If the keyboard player is under control and doesn't try to kill everyone with the low frequ's, I think you could use a traditional flat such as Labella which is my favorite in that category. Some like GHS flats for a traditional flat, but I personally find them a little bit "meh" and lacking personality, and they do not sound as traditional out of the box as Labella (760FL my favorites in that bunch).

The P may be a safer choice in lots of instances because of its ability to own a wide swath of lower mid frequencies, and thus be heard, although often what you hear, (particularly if the mix is loud or busy), is the ability of the P to provide the foundation of the band, along with the drummer, and not the sparkling clear notes that are the business of the jazz more or less. To me, the P makes the butts shake more than the Jazz. So, the point I'm making here is, your style of playing and how you see yourself in the band has a lot to do with what instrument to play.

But to return to your questions about strings, based upon the info you provided, honestly I would use rounds in your situation, and possibly the jazz if its strictly a 3 piece, and your playing is mostly indoors.

Now, amps and cabinets, thats a whole nuther thing that you may have to wade through next!
 
I must admit for whatever reason I prefer the sound of the Jazz over the P type. The Jazz seems more forgiving to me and more versatile, the P growls and thumps but I feel overexposed. The guitarist in the band prefers the P as he says he can hear it better particularly when he's soloing but I'm not sure. As we haven't been playing that long it will be fairly small indoor venues for now, outdoor gigs around here are like rocking horse crap so i doubt we will get anything like that for quite a while if ever at all.
 
I have ordered Fender 9050ML flatwound strings (50-65-85-100), what should I expect compared to Fender 7250ML, NPS (45-100) strings?

The bass is Squier VM 70's Jazz.

Also am I gonna need to file nut slots to put these slighter bigger gauge strings or it should fit?

CHEERS..
 
I have ordered Fender 9050ML flatwound strings (50-65-85-100), what should I expect compared to Fender 7250ML, NPS (45-100) strings?

The bass is Squier VM 70's Jazz.

Also am I gonna need to file nut slots to put these slighter bigger gauge strings or it should fit?

CHEERS..
The nut will handle them just fine.
That set has a very unbalanced E string tension wise which is why i dont care for them.
Need to have a 110E for perfection.
They will have more tension than your other strings but just do a setup and all will be fine.
 
I have ordered Fender 9050ML flatwound strings (50-65-85-100), what should I expect compared to Fender 7250ML, NPS (45-100) strings?

Flats are generally stiffer than rounds of comparable gauges. Going from a set of 45-65-80-100 rounds to a set of 50-65-85-100 flats mean you'll probably find them very stiff.

Also, as mentioned above, the 9050ML set is very uneven with a very tight G and a loose E. I always recommend the 9050CL set, 45-60-80-105, for better string-to-string balance both in terms of tension and tone.
 
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I have ordered Fender 9050ML flatwound strings (50-65-85-100), what should I expect compared to Fender 7250ML, NPS (45-100) strings?

The bass is Squier VM 70's Jazz.

Also am I gonna need to file nut slots to put these slighter bigger gauge strings or it should fit?

CHEERS..
The nut will handle them just fine.
That set has a very unbalanced E string tension wise which is why i dont care for them.
Need to have a 110E for perfection.
They will have more tension than your other strings but just do a setup and all will be fine.
Shawshank, you chime in here mentioning your custom set of Ernie Ball (non-Slinky/-cobalt) flats:
Ernie Ball Custom Gauge Flatwounds
I'd already seen @iiipopes recommending an Ernie Ball flat as a complement for a Fender flatwound set. How's the .110 growl-wise? If he's not daunted by the overall high tension (he'll be able to get a feel for it, as far as the A,D and G anyway), KingT might replace the Fender .100 with an EB .110 down the road.
Assuming he's in the US, here is where and how to get one:
[Invalid or Expired Link Removed]
 
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Shawshank, you chime in here mentioning your custom set of Ernie Ball (non-Slinky/-cobalt) flats:
Ernie Ball Custom Gauge Flatwounds
I'd already seen @iiipopes recommending an Ernie Ball flat as a complement for a Fender flatwound set. How's the .110 growl-wise? If he's not daunted by the overall high tension (he'll be able to get a feel for it, as far as the A,D and G anyway), KingT might replace the Fender .100 with an EB .110 down the road.
Assuming he's in the US, here is where and how to get one:
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They are a good match together.
The growl of Ernie Ball when new is not as pronounced as Fender but very much in the same neighbourhood.
I would highly recommend doing the 110E on a trial basis.
Very good idea.
At first it may seem alot, but it fits wonderfully.
 
Shawshank, you chime in here mentioning your custom set of Ernie Ball (non-Slinky/-cobalt) flats:
Ernie Ball Custom Gauge Flatwounds
I'd already seen @iiipopes recommending an Ernie Ball flat as a complement for a Fender flatwound set. How's the .110 growl-wise? If he's not daunted by the overall high tension (he'll be able to get a feel for it, as far as the A,D and G anyway), KingT might replace the Fender .100 with an EB .110 down the road.
Assuming he's in the US, here is where and how to get one:
[Invalid or Expired Link Removed]
@KingT: now, what to do if you're not in the US?
Only shop in Europe (that I'm aware of) that sells single Ernie Ball non-cobalt flats is this one:
Ernie Ball 1799 flatwound 110 snaar voor elektrische basgitaar
Uhm, for those who can't speak Dutch (among which I'm surely counted), Google Translate works better with German or English as the target language. A specific international shipping quote can be obtained by emailing them here: [email protected]


Alternatively*, a single D'Addario Chrome .110 can be found here:
Ernie Ball Custom Gauge Flatwounds
D'Addario CB110 Bass Chromes Flat Wound, Long Scale jetzt online kaufen bei SchneiderMusik.de
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And a single Rotosound Jazz Bass 77 .110 here:
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But they're usually described as the stiffest around bar none, so a .105 might be a better match feel-wise:
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*(While I'm convinced the Ernie Ball is the way to go as a way to balance out the Fender 9050ML A, D and G, the .110 Chrome also might have a useful life at least longer than the Chrome .100 or .105 counterparts, which are said to end up mellower than Fenders of the same gauge, over time. Then again, it might be the same as those, or even worse... Rotos start out very bright, but most users here (though not all)) concur that when they die, they die a horribly dull death. Still, you might want to try them and see for yourself.)



Haph out (drops mic and exits)...
 
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Thank you all for replying, now I was aware that this set is not balanced but I'm a noob bass player anyways so it really doesn't matter to me. I was curious about how flats would sound on my VM 70's compared to rounds so that's why I ordered pretty much cheapest flats available.

Now I'm not in USA or in EU (I'm from Bosnia which is on very border of EU but not actually in :D ) so it's very hard to order things online from EU w/o paying a great deal of taxes and shipping.
I wonder how Metallica bass lines (metal in general) will sound on flats :P

CHEERS..
 
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GHS Precisions for an old school sound. Ernie Ball Cobalt Flats for something lighter, brighter and more modern sounding.

They're the two opposite ends of the flatwound tone spectrum.

For the sake of comparison, I would like to throw in the Fender 9050 and Sadowsky (my top two favorites) to the equation.

On a scale of 1 (old school and thumpy) to 10 (bright and modern)...

GHS Precision - 1 (dark, woody and percussive)
Sadowsky - 4 (plenty of thump but with some rich smooth mids for punch and clarity)
Fender 9050 - 6 (metallic and clangy when new, but once broken in, mellow and full-bodied with some pleasing low-mid grind)
EB Cobalt - 10 (roundwound wannabe)
 
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