What kind of strings do you use?

[michael_t]

Dropped my Kay off at a local luthier, his opinion was the original neck is toast, but the reason I'm here is he was being really weird about my string choice, in fact I think he's the first person I've ever had be weird about me using flats, and it's on the wrong instrument to be weird about it at that.
As I've said here before I strung it with 9050Ls, not exactly a strange pick for a bass, 45-100 steel flats. I'd call them pretty typical strings, but the guy was really, really pushy about how much tension it puts on the neck (less than a fifth string, and it's not like basses with those are uncommon) and kept trying to steer me toward Ernie Ball Slinkies (he shoved a pink pack into my hands but 40-90 came out of his mouth... I'm sure you can see the discrepancy) without a single prompting on my part and despite my best attempts to tell him "hey, I intentionally put those 9050Ls on there recently [so they're still good] because I know what I'm doing" with basically just a little bit less neck tension and them being "slinkier" as the main selling points... which maybe they're true, I don't really do bends on bass (and barely on a normal Spanish for that matter) and there aren't 0 people who run 55 flats with perfectly healthy necks so neither are applicable but I suppose they're true. It's not quite enough to make me doubt him entirely, but I do kinda wonder. If nothing else he's at least somewhat condescending.​

If I were you, I would find another luthier. Someone who speaks against the Fender 9050L the way he does doesn't know what he's talking about. In terms of the actual tension, they're no heavier than a typical 45-105 set of roundwound. One of my J's wears them and I love them.

 

[trseal]

Dropped my Kay off at a local luthier, his opinion was the original neck is toast, but the reason I'm here is he was being really weird about my string choice, in fact I think he's the first person I've ever had be weird about me using flats, and it's on the wrong instrument to be weird about it at that.
As I've said here before I strung it with 9050Ls, not exactly a strange pick for a bass, 45-100 steel flats. I'd call them pretty typical strings, but the guy was really, really pushy about how much tension it puts on the neck (less than a fifth string, and it's not like basses with those are uncommon) and kept trying to steer me toward Ernie Ball Slinkies (he shoved a pink pack into my hands but 40-90 came out of his mouth... I'm sure you can see the discrepancy) without a single prompting on my part and despite my best attempts to tell him "hey, I intentionally put those 9050Ls on there recently [so they're still good] because I know what I'm doing" with basically just a little bit less neck tension and them being "slinkier" as the main selling points... which maybe they're true, I don't really do bends on bass (and barely on a normal Spanish for that matter) and there aren't 0 people who run 55 flats with perfectly healthy necks so neither are applicable but I suppose they're true. It's not quite enough to make me doubt him entirely, but I do kinda wonder. If nothing else he's at least somewhat condescending.​

I have them on several of my basses. There is nothing wrong with them OR their tension. Some folks string much higher gauge than 40-100's without issues. I think your guy may be all wet...

Tim

 

[lepidotos]

If I were you, I would find another luthier.

Trust me, I really considered it. Since the guy is basically just doing a neck swap at this point, I'd have just done the work myself if I had a drill press or access to one, but there really isn't anyone else near me, the only other ones are Guitar Center (who have already passed on working on it) and a company that only does acoustics as a rule. The fact the guy tried to explain to me what a product code is didn't exactly endear me to him.
However, the fact that a drill press is less than the cost of the work he's going to do means I should probably just get one for future use.​

 

[trseal]

Trust me, I really considered it. Since the guy is basically just doing a neck swap at this point, I'd have just done the work myself if I had a drill press or access to one, but there really isn't anyone else near me, the only other ones are Guitar Center (who have already passed on working on it) and a company that only does acoustics as a rule. The fact the guy tried to explain to me what a product code is didn't exactly endear me to him.
However, the fact that a drill press is less than the cost of the work he's going to do means I should probably just get one for future use.​

Ya know, ANYBODY can call themself a "luthier." There's no license. Based on the things he's telling you, I'd have serious concerns about what he might do to my guitar. His qualifications would be in doubt. Good luck.

Tim

 

[klejst]

I have always used rounds, but recently I got into the flats realm too and I love them. I'll likely go back and forth between them if and when I'd need to change.

 

[michael_t]

Ken Smith Compressors 40-58-80-102 (SR650E)
GHS Pressurewound 40-54-76-96 (American Special Jazz)
Ken Smith Compressors 40-58-80-102 + GHS Progressive 130B (BB435)
GHS Pressurewound M7200 (44-62-84-106), tuned to DGCF (Sandblasted Jazz)
Ernie Ball Group IV Stainless Steel Flats (40-60-70-95) (Am Std Precision)
Ken Smith Compressors 40-58-80-102 + GHS Progressive 130B (exposed core) (TRBX505)
Fender Flats 9050L (45-60-80-100) (Highway One Jazz)

A couple of changes...

DR SS Lo-Riders 40-60-80-100 + GHS Super Steel 126B (BB435)
GHS Bassics 40-58-80-102 (Sandblasted Jazz, back to EADG)
Ken Smith Compressors 40-58-80-102 + GHS Progressive 130B (exposed core) (TRBX505)
GHS Pressurewound 40-54-76-96 (American Special Jazz)
Ken Smith Compressors 40-58-80-102 (SR650E)
Ernie Ball Group IV Stainless Steel Flats (40-60-70-95) (Am Std Precision)
Fender Flats 9050L (45-60-80-100) (Highway One Jazz)

 

[lepidotos]

Well, just got it back. Here are some of the things the guy did do that he said he would:
• Install the neck
• Re-use the old hardware (including the 6-bolt neck plate)
• Install the truss rod cover
• Switch out the strings
• Give me back my old strings in the bag
• Give me back my old neck

Here are some of the things he didn't do, even if I brought them up as potential issues:
• Re-form the cover for the new neck (to be fair, that's probably for the best, I don't know how well the gold lettering would have held up, but it does kind of look weird on close inspection)
• Sand down the 20th fret because the neck pocket is square (this seems to not be a problem intonation-wise, though I may want to look for pickguards with a round neck pocket now)
• Fret leveling (at least two of them are very visibly completely off the fretboard on the bass side compared to the ones next to them, I pointed this out and the guy just said something about chipping "like that" not being a big deal)

Now, the good news is, the rounds he did use are some of the mildest I've had, to the point I actually can kinda power through them. To the point I'm kind of considering repurposing the 9050Ls for my GJazz instead, which has much more... conventional rounds, which is to say ones that I absolutely can't stand. I was considering TI Jazz Flats for it, but I'll probably be just as happy with the Fenders and use that $40 for something else, maybe pick up a set down the line when I get a... frankly more than just half-decent Jazz. I'm still actively avoiding slides on that one, whereas on the KB-24 I'm still doing them, if fewer than with flats.

I also just noticed one of the strings is buzzing at the saddle. I don't think it's the neck, the action is high enough that none of the frets are touching the strings when played open, even the unseated ones, and plucking and seeking leads me to the bridge as where it's the loudest. I didn't bring that up at all though and feel like it was already a thing so I'm not expecting that to have crossed his mind and don't think he caused it.

Probably just put together a parts bass to practice the skills to do this stuff myself next time (strung with flats, of course), but hey, it's playable now, so that's a win regardless.​

 

[BlackWolf]

GHS Pressurewound ML7200 - Maruszczyk Elwood (Jazz) with Aguilar AG 4J-HC.
GHS Pressurewound ML7200 - Maruszczyk Frog Omega with Nordstrand Zen Blades.
Maruszczyk Coated 045-130 - Maruszczyk Mopped B (Jaguar) 5-string with Nordstrand Big Splits.
Fender 9050L - Maruszczyk Jake (Precision) with Aguilar AG 4P-60.
Fender 9050L - “stock” Yamaha BB734A.

 

[michael_t]

DR SS Lo-Riders 40-60-80-100 + GHS Super Steel 126B (BB435)
GHS Bassics 40-58-80-102 (Sandblasted Jazz, back to EADG)
Ken Smith Compressors 40-58-80-102 + GHS Progressive 130B (exposed core) (TRBX505)
GHS Pressurewound 40-54-76-96 (American Special Jazz)
Ken Smith Compressors 40-58-80-102 (SR650E)
Ernie Ball Group IV Stainless Steel Flats (40-60-70-95) (Am Std Precision)
Fender Flats 9050L (45-60-80-100) (Highway One Jazz)

One more change...

SIT Power Wound Nickels 40-60-80-100 on the Am Std Precision, replacing the Ernie Ball Group IV Flats (saved for another day).

DR SS Lo-Riders 40-60-80-100 + GHS Super Steel 126B (BB435)
GHS Bassics 40-58-80-102 (Sandblasted Jazz, back to EADG)
Ken Smith Compressors 40-58-80-102 + GHS Progressive 130B (exposed core) (TRBX505)
GHS Pressurewound 40-54-76-96 (American Special Jazz)
Ken Smith Compressors 40-58-80-102 (SR650E)
Fender Flats 9050L (45-60-80-100) (Highway One Jazz)

 

[Sixxer]

LA Bella flat / tape wound.

 

[Josef Marc]

Strings that is, I love pure nickel round wounds, and nickel plated round wounds. Whats yours?


EDIT BY JASONBRAATZ:

Post what kinds of string you use, what bass you use them on, and your thoughts on the sound.

45 years old nylon wounds on my EKO acoustic bass guitar, that's my favorite instrument. I broke a roundwound on my 1963 Precision about 15 years ago, replaced them with Fender nickel rounds. 25 years old flatwounds on my 1905 german flatback upright, had to because we were giving it its 100 years old tuneup (have to take it completely apart to do that). As you can see, I don't replace bass strings until I have to.

 

[Basspaolo]

Fender Flats 9050 (45-100) on Ibanez EHB 1000 with aguilar PU and Epiphone Jack Casady
DR Fat Beams 45-105 on Fender Jazz MiM with overwound Q Pickups
DR Pure Blues (very old set) on Fender precision standard with emg GZR

 

[trseal]

So... I have a question for y'all. It kind covers a couple of topics but this place seemed the most logical to start.

I use a variety of strings. Different strings for different basses to give each their own tonal character. My standard go-to are Fender flats. I have installed a Hipshot extender on 3 basses--two with Fender flats and 1 with rounds. All worked perfectly. Then I changed strings on my primary bass from flats to D'Ad. tape wounds. The extender doesn't work worth a cwap on that bass anymore. Tune it one way or another--adjust it this way and that and flip the lever-- it's just all over the place. The strings are perfect for that bass so I'm not changing the strings back. I just wish I had the utility with the extender on that bass.

So, is this a common problem for other folks out there? Are these things string-sensitive? Suggestions? Solutions?

I have alternatives so it's not like I have to change strings back or go without. I just have to choose my weapon appropriately.

Tim

 

[michael_t]

I changed strings on my primary bass from flats to D'Ad. tape wounds. The extender doesn't work worth a cwap on that bass anymore. Tune it one way or another--adjust it this way and that and flip the lever-- it's just all over the place. The strings are perfect for that bass so I'm not changing the strings back. I just wish I had the utility with the extender on that bass.

So, is this a common problem for other folks out there? Are these things string-sensitive? Suggestions? Solutions?

Tapewounds are basically very light roundwound (40-95) with nylon cover. So, they're very light in tension and flexible compared to the Fender flats as the outer nylon contributes very little in terms of either tension (as in pulling weight) or overall stiffness. And as such, they can be finicky when it comes to down-tuning as they tend to lose their tuning stability very easily.

 

[RavenousPoe]

I just have to gush about trying GHS Pressurewounds in 44-106 gauge for the first (second?) time. I got a new (to me) bass just a couple of weeks ago, and I immediately noticed how great the strings felt and sounded. After a lot of digging and verifying the strings' iconic black silk, I purchased a brand new set just to make sure that I was right. I re-strung my P Bass with them a couple of days ago and they are exactly the same! The reduced finger noise is no joke, they have excellent clarity, and still sound like rounds!

From now on, I'll be buying sets of Pressurewounds for all of my basses!

 

[michael_t]

I just have to gush about trying GHS Pressurewounds in 44-106 gauge for the first (second?) time. I got a new (to me) bass just a couple of weeks ago, and I immediately noticed how great the strings felt and sounded. After a lot of digging and verifying the strings' iconic black silk, I purchased a brand new set just to make sure that I was right. I re-strung my P Bass with them a couple of days ago and they are exactly the same! The reduced finger noise is no joke, they have excellent clarity, and still sound like rounds!

From now on, I'll be buying sets of Pressurewounds for all of my basses!

I try a lot of strings all the time, but I always come back to the GHS Pressurewounds as my "home". As of right now, one of my J's and my one and only P are wearing the 40-96 set. And I'm thinking of putting the 44-106 set on my Ibanez PJ for the DGCF tuning.

Meanwhile, one of my 5-string Yamahas is sporting the Ken Smith Compressors, which are the same Alloy 52 "rollerwound" also made by GHS.

 

[RavenousPoe]

I try a lot of strings all the time, but I always come back to the GHS Pressurewounds as my "home". As of right now, one of my J's and my one and only P are wearing the 40-96 set. And I'm thinking of putting the 44-106 set on my Ibanez PJ for the DGCF tuning.

Meanwhile, one of my 5-string Yamahas are sporting the Ken Smith Compressors, which are the same Alloy 52 "rollerwound" also made by GHS.

I have mine in D# Standard/Drop C# and the tension is excellent! I felt that I had tried every string that one might see in local stores, including most variations of DR, D'addario, and Ernie Ball strings, but really felt moved for the first time with the Pressurewounds. I can't imagine switching to something else, although I have been a big fan of D'addario Chromes for flats.

 

[John D Harris]

My EB Cobalt Flats are sounding a bit subpar - the surface of the strings are getting a corrosion build up.
The open strings sound OK, but fretted note are a bit thuddy.
I've had them on my B5 for 5 months.
I'm going to pull them off and clean them with something.

I'm also going to try the Dunlop Flatwounds (DBFS45125) - just ordered a set.

 

[michael_t]

SIT Power Wound Nickels 40-60-80-100 (Am Std Precision)
DR SS Lo-Riders 40-60-80-100 + GHS Super Steel 126B (BB435)
GHS Bassics 40-58-80-102 (Sandblasted Jazz, back to EADG)
Ken Smith Compressors 40-58-80-102 + GHS Progressive 130B (exposed core) (TRBX505)
GHS Pressurewound 40-54-76-96 (American Special Jazz)
Ken Smith Compressors 40-58-80-102 (SR650E)
Fender Flats 9050L (45-60-80-100) (Highway One Jazz)

Four changes since the last update.

Rotosound Ultramags 40-60-80-100 + GHS Progressive 130B (exposed core) (TRBX505)
GHS Pressurewound L7200 (40-54-76-96) (Am Std Precision)
DR DDT 45-65-85-105, tuned to DGCF (Sandblasted Jazz)
GHS Pressurewound M7200 (44-62-84-106), tuned to DGCF (SR650E)

GHS Pressurewound 40-54-76-96 (American Special Jazz)
Fender Flats 9050L (45-60-80-100) (Highway One Jazz)

Yamaha BB435 - GONE!

 

[John D Harris]

Has anyone played both the Ernie Ball Cobalt Flats and the Dunlop Flatwounds (DBFS45125)?

I'd like to hear your thoughts on how they compare.

I've been working on creating presets on my Two Notes Opus and I'm a bit concerned that the diminished tone might have a negative impact on my presets (adjusting to compensate for lackluster string tone).

I'm still waiting to see if I can get by with the CF's while they are on my bass; the Dunlops are waiting in the wings.

I'm a bit paranoid that the CF's may break if I try to put them back on once I take them off (I've heard of people having breaking issues with them).