Rickissippi wrote:I tried flats on my 360 for several months, and set my guitar up for it according to the manual by moving the bridge baseplate back which helped give me perfect intonation. I eventually ended up going back to compressed rounds, but I enjoyed the flats. They are supposed to have the true vintage sound. The smooth feel is fun, too - almost like you're playing gut. I had also heard they were better jazz strings. I'm not really a jazz player live, but I do dabble a good bit at home. I would take it out on rock gigs, though, and they could do just as well, sonically through the amp, as any other string I've played.
One big drawback to me was that I couldn't bend the G string up a full step - the G on flats is wound, not plain steel. Maybe this means I'm too reliant on that move, but I find I do it several times a gig, and without it, I had to re-think some of my parts that required that bend. However, they stayed in tune beautifully, especially the G, which as a plain steel string in a roundwound set gives us all a lot of heartburn.
I'd recommend trying it at least once.
Folkie wrote:Todd Bradshaw's theory holds water
JakeK wrote:The advantage of flats on your guitar is a really smooth feel, and a LOT less string noise, but the disadvantage is you won't get a ringing sustain (at least without a little compression), and a dull thunk, rather than roundwounds where they ring for a while and have a sparkle to them.
teb wrote:It seems to me that for six-string electric guitars things have pretty much reversed over the years. Back in the late 60s and early 70s you would have had to really hunt to find rounds for electrics (or basses for that matter). If you're into the music from that era, most of the guitar work was most likely played on flats.
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