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Flatwounds on a 5 string


Len_derby
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I have recently joined a band whose music has prompted me to move over to playing 5 string.
I've bought a MIM Fender Jazz 5er from a basschatter. It's strung with rounds, but I'd like to swop over to flats as that's what I like on my 4 strings.
Any thoughts or advice please regarding this please?
For example, do flats work well on the B string?

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I was A/Bing my Lull P5 with Happy Jack's Lull P5 and his sounded better.

I couldn't work out why and after a lot of emails to various people I put some Lakland flats on. That was the difference.

I didn't realise what an improvement those strings could make. Flats on my Lull P5 sound fantastic and the B string is still very playable and sounds clear and well defined right down to B.

I don't know your bass, but you have to try it.

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I've used flats extensively on 5-string basses and, in the main, they are absolutely fine.

My favourite flats are LaBella FLs and they work with 34" basses though the B-string can be on the short side.

I now play exclusively 35" scale, and the FLs are simply not long enough. I use what I think of as Lakland Jo Osborne flats, but Lakland now call them something else and Gareth (Walbassist) assures me that they are anyway just re-badged GHS strings.

With 34" scale on a 5-string there is definitely the risk of some flobbadob going on, so you also need to take into account your own playing style. I like a high-ish action and I tend to dig in pretty hard.

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Less-than-top-end basses and rigs will probably need the mids turned up a bit if you use the low B a lot. Also, with 34" scale and low-tension flats such as Chromes, you will need to adjust the action so that the low B doesn't buzz. Having an adjustable nut helps a lot in this case, as you can intervene on the low B and leave the other strings alone.

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I've used both D'Addario Chromes and Sadowsky Black Label flatwound B-strings and liked them (I've stuck with the Sadowskys). Both are tight and pleasant sounding in the lower range, and I would say it's actually higher up the neck that the sound becomes a bit of an acquired taste. From about the 9th fret upwards the sound gets a lot of thump to it and is a bit less clear in a way that reminds me of how a flatwound E sounds on certain short-scale basses. Depending on your tastes this could actually be a useful extra tonal option on those notes.
The only B-string I could not live with at all was on D'Addario black nylon tapewounds, and I ended up using a roundwound DR Black Beauty B-string with those.

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I somehow could only get Ernie Ball flats for my five string fretless many years ago and have stuck with them since. First set lasted six years. I genuinely believe that investment in good strings is a massive part of your sound, and can really alter the sound. I would recommend the Ernie Balls especially if you need a lot of length to reach the tuners, but also because of the durability. Tonally one man's treasure, etc. But I find these great for the bass I tie them on, a bit of grit in the sound and a space in the notes with a solid tone works for me. Also no finger blisters when really digging in

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I have Chromes on my G&L L1505. They sound superb, everything from in-your face rock to sweet round Motown. I reached a bit of a compromise when setting the action, in that the B frets out when held at above the 15th fret, but tbh I never use the B above the 10th anyway.

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