My first experience with flatwounds

[Adamixoye]

Okay, this is a "my random opinion" thread. I'm sure flatwound vs. roundwound has been discussed a lot before.

 

I was at Guitar Center the other day, and I played a Jazz bass with flatwound A, D, and G strings (why the E was roundwound, I don't know). Anyway, this was my first experience with flatwound strings. I gotta say, I really hated the way they sounds, BUT loved the way they felt. It's really too bad that these strings possess such contradictory qualities, at least to my tastes.

[Bob Gollihur]

I'd suggest taking other samplings. One can't form a total opinion of the entire population of "flatwounds" based on random set of used flats on a Guitar Center bass, any more than making a judgement on all roundwounds under the same circumstances.

 

There are different flavors of flats just as there are rounds. I don't like Fender or GHS flats, but I love Thomastik Jazz Flats, and like Pyramid flats (somewhat similar) and D'Addario Chromes (very different). I haven't played Labella flats in a long time, but they seem to have a following.

 

Groundwounds (GHS Brite Flats, D'Addario Half-rounds) are shaved rounds, to achieve more of a flatwound feel, but they are different animals as well.

 

The other random ingredient-- IME some basses like certain strings while others just don't work well on them.

 

Just my .02- don't write off flats just yet.

[Selecter]

Adam,

 

The same way you feel about Flats I feel about rounds. I honestly cant understand why anyone would play with them. Bob is right, why dont you spring for a set of TI flats and try them out? That way you will get the real deal.

 

BTW Bob I went thru your website the other day, If I ever get the finger strength and the reason ( gotta have one to play in XXX band ) I'll buy my upright from you - I think most local music stores would not know what a good upright was. Just wanted you to know. My playing is progressing along and I can see the day when it would be nice to have one.

[Adamixoye]

Bob, you make a good point. I think my last statement was a bit hasty. I am somewhat ignorant when it comes to strings...I haven't experimented with different strings on my bass, I don't know much about the various types of roundwounds--I haven't noticed enough of a difference to ever really care, nor have I needed to switch strings, so laziness wins.

 

These flatwounds were very dark, had no punch, etc. Basically, they sounded flat--seriously, no pun intended. If it were, I'd hurt myself. Anyway, if I found some that sounded more like what I'm used to, I would strongly consider getting some.

[Max Valentino]

Interesting.......

 

I recently put a set of TI flats on my Godin A5 Fretless (with a high C, not the usual B string) and really fell in love with the sound.

I have been using TI Acousticore Strings on both my A5 and fretted A4,and loved the overall feel and unique sound, but recently found them to a little "iffy", and soft, as to pitch definition on the fretless.

 

I am a TI Endorsee and have been using TI flats on my '67 P Bass for sometime now..along with the Acousticores on my Godins and other ABGs (Dean, Washburn, Taylor), TI Jazz Rounds on both my MTD and Godin BG4,and Jack Casady Sig.. and sometimes TI Powerbass Strings on those too (tho I find the gauge on the PBs to be a bit thick for my taste...and my sometimes chord-intensive solo stuff).

 

But....I have to say that the TI flats on the fretless is a wonderful sound! I had hesitated doing this as I felt they might impart more of an URB-ish vibe, and detract some of the lovely "mwah" this bass possesses. But all the mwah is still there, glisses are smooth and the pitch defintion is certain! And, the strings are quite responsive and dynamic; something of a "must" on a semi-acoustic fretless!

 

Being a roundwound user for years and years (save for the classic, old-school tone of the P), I never thought I would be so thrilled with flats, but they they are...and the sound, and feel, great.

 

Just did my first solo gig with the fretless/flats last night, and I have to say, even with loop-intensive solo bass performance the strings hold their own. The tone is quite defined, and yes "organic", but with an edge.

 

So, even tho I am a TI endorsee, I have become quite sold on these strings.......

 

........no problems with flatwounds here!

 

Max

[jmrunning3]

I'm seriously considering trying some flats just to experiment with a different sound. I have an OLP MM2 that shipped with Ernie Ball Medium Light Slinkys 100 - 40.

 

I'm thinking of trying either these Fenders or these Rotosounds.

 

According to this BP article they are somewhat similar.

 

What have been your experiences?

[Big Daddy from Motown]

I hated the Rotosound flats, go with the TI jazz flats for sound. The La Bellas sound great but are a workout to play.

[Big Red 67]

I bought Fenders and put them on an Ephi Beatle bass. I was totally impressed. It may depend on the bass you put them on too. Haven't played that bass for a while, so I'm gonna go play!!!!

[kenfxj]

I put D\'Addario chromes on my P-bass and was very happy with the result.

 

Just my 2 cents.

[DC Ross]

+1 for the TI flats

[Big Red 67]

Man the fundamental (bass) that that thing kicks out is insane. I think if I turned it up past 12 o'clock the drivers would punch right through the grill.

 

I have found that turning down the bass when playing flats can bring out the tone more.

[jmrunning3]

After comparing eveyone's input and reconsidering, I think I'm going to give the D'Addario Chromes a try. The TI's seem a little pricey since this is only an experiment. I chose the D'Addario's over the Fenders since they are closer to the same gauges I have now.

 

Thanks everyone! I'll let you know how I like playing flats!

[Gruuve]

Man, I keep hearing the LaBella flats mentioned as being fairly high-tension (right)? Are these bright enough for a good slap tone, just out of curiosity?

 

I've ruled out the TI Jazz Flats, but only because I don't like lower-tension strings.

 

Dave

[ArwinH]

Originally posted by Dave Sisk:

Man, I keep hearing the LaBella flats mentioned as being fairly high-tension (right)? Are these bright enough for a good slap tone, just out of curiosity?

 

I've ruled out the TI Jazz Flats, but only because I don't like lower-tension strings.

 

Dave

It depends on your definition of a good slap tone. They will not do a rw type modern slap tone no matter hat you do (I'm refering to the jamerson sets).

 

They're a workout to slap on.

[PhilMan99]

Originally posted by Big Daddy from Motown:

I hated the Rotosound flats, go with the TI jazz flats for sound. The La Bellas sound great but are a workout to play.

I actually prefer the higher tension of the La Bellas. And since I only play weekends at Church, my fingers are not exactly "strong".

 

In addition to prefering the higher tension, I find "hammer-ons" work much better with the higher tension.

[Whacked]

another +1 for the D'addario Chromes.

Great strings and really like them on my fretless.

Havent tried them on a fretted tho

[ArwinH]

I think I know how to describe the la bella's* very well for somebody who ahsn't tried them yet.

 

These are the CLASSIC flatwound sound. It's the motown, big fundamental, punchy and thick flatwound tone. If you put the strings on expecting anything else, you'll be dissapointed. But if you want THAT sound, it's an easy way to get it.

 

*I'm talking about the labella deep talkin' flats, the set beginning at 53 is known as the jamerson set: these are the strings I've had my experience with. I'm sure that labella makes a diverse array of strings and I'd hate to make a sweeping generalization adn say that ALL Labella strings are high tension old school strings.

[mondoray]

Howdy, I only stumbled upon flatwounds when I recently

purchased my 1976 telecaster bass..they feel great -and sound awesome! unfortunately my bandmates don't dig the sound

(too wooly!) This coming from a longtime owner of a washburn status, which has very bright sound.

[ZZ Thorn]

LaBella flats aren't just the Motown sound - they're also the vintage RnB sound, the vintage Chicago blues sound, the vintage soul sound as well as a large portion of the vintage rock sound. I imagine it's also the vintage electric country sound too, tho we shouldn't hold that against flatwounds.

 

How much you like this kind of music is probably going to determine how much you like flatwounds. I love these styles - and I play Labella Jamersons and love them to death. If, say, you like metal, you aren't likely going to dig flatwounds cuz your musical heroes didn't use them and you dig their sound.

 

I got some roundwounds recently and found them totally worthless...until I began practicing playing with a pick, so I'm slowly coming around on them. But they could never replace that flatwound sound, which is 'the' bass sound IMO.

[PhilMan99]

Originally posted by ZZ Thorn:

...

I got some roundwounds recently and found them totally worthless...until I began practicing playing with a pick, so I'm slowly coming around on them. But they could never replace that flatwound sound, which is 'the' bass sound IMO.

For pure musical bliss, try a pick with those La Bellas, using your palm to "mute" the strings when you pick!

[ZZ Thorn]

That's what I've been working on for the past few months, but I don't get enough of the actual note I'm muting with the flats for my taste. I'm a real novice at it tho - I'll try it out on my LaBellas again. But then...what good are my roundwounds?

 

I can't think of too many bassists who do a lot of palm muting with a pick in the RnB style, like Anthony Jackson does on "Money." Can anyone recommend some other bassists who do a lot of palm muting with a pick who I can learn from?

[Big Red 67]

I saw a bass player on round wounds palm muting but picking with his thumb and producing a real upright sound. Pratice, Pratice, Pratice!

[jmrunning3]

After reading everyone's opinion, I think I'm going to hold off trying some flats for now. I think at this point I should concentrate on my technique rather than perfecting my sound.

 

I appreciate everyone's input to my question!

[PhilMan99]

Originally posted by ZZ Thorn:

That's what I've been working on for the past few months, but I don't get enough of the actual note I'm muting with the flats for my taste. I'm a real novice at it tho - I'll try it out on my LaBellas again. But then...what good are my roundwounds?

 

I can't think of too many bassists who do a lot of palm muting with a pick in the RnB style, like Anthony Jackson does on "Money." Can anyone recommend some other bassists who do a lot of palm muting with a pick who I can learn from?

Per Carol Kaye, "back in the day" (60s/70s), muting was often done in the studio:

* Finger-style: foam under the strings

* Pick-style: felt over the strings (held on with tape, I guess)

 

To get a good sound with palm-muting, you need to have a fair amount of distance between your palm (right at the bridge) and where your pick hits the strings (as close to the neck as possible). I also like to a) crank-up the bass and volume a bit for a nice low "thud", with b) mids & treble "set to taste".

[Big Daddy from Motown]

The way to make this all work is to have a seperate bass for flats and that old school sound.

[Rick Hoffman]

I just put Rotosound swing 77's flats on my MIA J bass, 45 - 105's. I thought it was a great change in tone at first but lately after about 3 weeks of having them on, I'm not so sure...seems as though I lost a lot of punch and presence. I'm considering going back to roundwounds. And I come from a heavy metal background as far as style and technique, but I listen to and play some motown, funk, RnB, blues, and classic rock.