I’m starting what may be an infrequently updated and potentially doomed zombie thread to chronicle the journey of my new set of TI’s. I have committed to leaving them on my ‘78 P for the sake of my wallet, the frets, and my tonal sanity.
I bought these el cheapo from the UK Amazon deal I read about here: PSA: Thomastik-Infeld Jazz Flats are on sale for $37.27 + $0-10 shipping on Amazon.
This is my second attempt. The first set was purchased with a gift card from my employees, and with the subsequent sale of those to a fellow TB’er and the discount on these, my investment so far has been about $20/set. Not too shabby, perhaps even destiny.
Although the UK packaging is different, these feel and sound exactly the same: initially zingy top end, perfect fundamental notes and mid-range, a little wanting in the low end and mostly remedied with a judicious turn of the bass knob clockwise. I’ve played them through my Peavey AlphaBass tube amp/Genz Benz Uber 410 and little Fender Rumble practice amp. They’ve been here almost two weeks. They came off a couple of nights ago for 15 minutes A/B’d against a NOS set of Roto rounds and quickly went back on with negligible string fray from the experiment.
The “floppiness” that made me want to list them for sale 48 hours after receiving them soon fades into a more generously-termed “pliability.” The first set survived this phase. As much as I binge practice, this characteristic is appreciated.
The diminished low end reminds me the Labella and GHS flats I’ve tried are out there waiting to supply that old school boom-factor. But these do so much more.
The TI’s beg to be picked. It’s about as satisfying a tone and feel I’ve ever received from my bass. Fingers do require a lighter touch than I am accustomed to using, but I think the adaptation is better for my technique than it is detrimental.
I had to lower the E with more of a saddle adjustment than I thought would be necessary as I was getting some wonkiness above the 12-14th frets, but this remedied things way up there very nicely.
Texture-wise, they are similar to GHS: not overly slick, but not tacky. Labella and Chromes feel too glassy, and something to hold my fingers ever so slightly feels more secure.
I think a foam mute and a few more months of play could transport me into Motown, but cranking the tone with some OD grit could do the trick for punk. I want to bust out into a funky 70’s detective show theme song, and that’s a high compliment. They are effortless, adept, and make most genres accessible.
As they age, I’m committing to seeing these through for better or worse. I have the Rotos on the Kramer, and when I eventually finish the kit Ric, it will also sport rounds. But my favorite keeps these, and I’ll let you know how the journey goes as they age and gig and transmit new music.
I bought these el cheapo from the UK Amazon deal I read about here: PSA: Thomastik-Infeld Jazz Flats are on sale for $37.27 + $0-10 shipping on Amazon.
This is my second attempt. The first set was purchased with a gift card from my employees, and with the subsequent sale of those to a fellow TB’er and the discount on these, my investment so far has been about $20/set. Not too shabby, perhaps even destiny.
Although the UK packaging is different, these feel and sound exactly the same: initially zingy top end, perfect fundamental notes and mid-range, a little wanting in the low end and mostly remedied with a judicious turn of the bass knob clockwise. I’ve played them through my Peavey AlphaBass tube amp/Genz Benz Uber 410 and little Fender Rumble practice amp. They’ve been here almost two weeks. They came off a couple of nights ago for 15 minutes A/B’d against a NOS set of Roto rounds and quickly went back on with negligible string fray from the experiment.
The “floppiness” that made me want to list them for sale 48 hours after receiving them soon fades into a more generously-termed “pliability.” The first set survived this phase. As much as I binge practice, this characteristic is appreciated.
The diminished low end reminds me the Labella and GHS flats I’ve tried are out there waiting to supply that old school boom-factor. But these do so much more.
The TI’s beg to be picked. It’s about as satisfying a tone and feel I’ve ever received from my bass. Fingers do require a lighter touch than I am accustomed to using, but I think the adaptation is better for my technique than it is detrimental.
I had to lower the E with more of a saddle adjustment than I thought would be necessary as I was getting some wonkiness above the 12-14th frets, but this remedied things way up there very nicely.
Texture-wise, they are similar to GHS: not overly slick, but not tacky. Labella and Chromes feel too glassy, and something to hold my fingers ever so slightly feels more secure.
I think a foam mute and a few more months of play could transport me into Motown, but cranking the tone with some OD grit could do the trick for punk. I want to bust out into a funky 70’s detective show theme song, and that’s a high compliment. They are effortless, adept, and make most genres accessible.
As they age, I’m committing to seeing these through for better or worse. I have the Rotos on the Kramer, and when I eventually finish the kit Ric, it will also sport rounds. But my favorite keeps these, and I’ll let you know how the journey goes as they age and gig and transmit new music.
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