Thomastik JF344

Korzystałem z tych strun w starym JazzBasie i we fretlessie. Mam doświadczenia z flatami LaBella, Pyramid i Chrome

Zalety:
- bardzo miękkie
- struny brzmią doskonale grane palcami, lepiej niż inne flaty przebijają się w mix, gdyż są dosyć jasne
- bardzo czułe na artykulacje, łatwo się je podciąga, glissuje , etc.
- pięknie pracują z przetwornikami, nie wiem jak to inaczej nazwać - dźwięk jest równy, dynamika jest doskonale przekazywana
- najgładsze ze znanych mi flatów - wręcz jedwabiste w dotyku
- bardzo mało się brudzą
- idealna intonacja
- slap brzmi na nich całkiem sensownie

Wady (które zdecydowały o powrocie do LaBella):
-bardzo miękkie
- na flatach grywam też sporo kostką, i do tego te struny się średnio nadają. używam kostek 0,73mm - nie są szczególnie twarde, ale zupełnie nie mogłem ogarnąć balansu między strunami...
-najgorzej mi szło granie na strunie A, była jakby miększa niż inne i grana kostką nieco cichsza

Polecam, jeśli chce się śpiewać paluchami na basie (z fretlessem Jazz Bass - absolutnie piękna para!)!!! Idealny partner dla zaawansowanej artykulacji. Pięknie siedzą w miksach, tak z DI jak i z mikrofonu

Nie polecam, do brzmienia Motown są za "lekkie", nie mają tego ...pufff na początku - struny Jammersona były dużo grubsze i sztywne. Nie nadają się też do grania kostką

Podsumowujac, jedyny zarzut jaki mam to manualność

I absolutely love these strings but I don't understand why there's no mention anywhere on the packaging that these are roundcore strings which needs some precautions to avoid potential damage?

For anyone not aware of this: google it. Short version: roundcore strings need crimping or bending 90 degrees to avoid risking the outer wrapping separating from the inner core. Loosening the tension completely again after installing them may also be a bad idea.

I actually didn't realise these were roundcore strings until after I had ruined my first set. After removing the strings for a pickup replacement the A-strings never sounded right again. It had developed weird clanking noises when tuning it up to pitch, sounded permanentely more metallic than the other strings and had developed a slight buzzing sound originating from the string itself.

But even if you do things correctly these strings have a weird thing were they may suddenly break during tuning. I've never experienced them breaking during playing but twice when tuning. I've also heard others complain about this.

That's the negative, now for the positive:

They sound absolutely gorgeous! They definitely sound like flatwounds but they have a more orchestral quality than the classic "soul" flatwounds like LaBellas, GHS, etc. The Thomastisk Jazz flats are also much brighter than any other flats I've tried, with the possible exception of a fresh set of Rotosound 77. But the Roto's settle into their smoother "70s rock" signature sound while the Thomastik Jazz Flats STAY bright. They're not metallic bright like roundwounds though. Think flatwounds with a hint of crisp highs on top. The sound is extremely clear and balanced from top to bottom. It makes most other flatwounds seem very muddy by comparison. The lows are deep/tight rather than warm/pillowy. Mids are very organic/woody sounding and well balanced.

The Thomastik Jazz Flatwounds also have a very snappy/bouncy attack that is truly unique. They do have a touch of the flatwound "thump" but with far better sustain than most other flatwounds. The Pyramid Golds are the only strings I've tried with a similarly "bouncy" attack but the Pyramids are much less snappy/crisp and also have far less sustain. They're both great though, just depends on what you're looking for.

The tension is VERY low and may take some time getting used to. Opinions are very divided on these strings. Definitely not the best allrounders.

Personally I love them but they have a very distinct sound and "feel" that will not suit everyone. Plus there's the reliability issues...

I still highly recommend them because of the wonderful sound and the fact that no other string will provide anything remotely similar.

I put these strings on an Epiphone EB3 bass as I found it a tad uncomfortable/tight and boomy/indistinct with a few different roundwound brands. After rewiring the bass to 50s style wiring and still not quite achieving the clarity I was wanting I decided to try these TIs out as I'd read somewhere that Carol Kaye was a user - I thought I'd go for the fundamental and forsake clarity altogether. Really, who can argue with the bottom end of the Wrecking Crew?! These strings are fabulous - just superlative. They feel relatively low tension compared to the rounds I had previously installed, super comfortable and slinky, yet paradoxically the clarity is much improved. There's no metallic clang, just simply sublime string to string and low end frequency balance. Not as idiosyncratic as Pyramids, not the best for growl or zing. Just really, really fantastic flatwound punchy and thumpy musical performance. And they are immaculately wound too - totally flawless. They're aging beautifully, maintaining their string to string clarity yet sweetening/dulling on the top end in just the right way. Superb flats - highly recommended.