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T
The Rotosound 77 flatwounds are one of my favourite strings. They deliver possibly the most wonderful sounding midrange from ANY strings I've tried and the lows are perfectly balanced, not excessively boomy like some other strings. They are far less thumpy than "old school" flatwounds like LaBellas. The Rotos are the sound of British 70s rock, the LaBellas are the sound of American 60s soul. The Rotos have a lot more sustain and are considerably brighter/clearer than the LaBellas. The only brighter flatwounds I can think of are the Thomastik Jazz Flats but they have a more orchestral vibe and are much lower tension (some would say floppy).
The Rotos are far better allrounders than most flatwounds in my opinion. Which of course also means that if you're looking for the old school 50s/60s thump they're not the right choice.
The regular 45-105 is a bit too stiff and high tension for me. So I decided to try this 40-100 set instead. They are perfect! The tension on this 40-100 set feels more like a typical roundwound 45-105 set, which is my personal preference.
They do however have some of the same quirks as the regular gauge set. Mainly that the D+G strings settle in and lose most of the "zing" pretty quickly while the E+A stay brighter for a much longer time. In other words they go through a phase where they sound quite unbalanced from string to string. I like my strings mellow and broken in so for me this means a couple of weeks of use before they sound the way I want them to sound.
Apart from that they're great and I recommend them to anyone looking for a less thumpy flatwound and like the sound of British 70s rock. Together with the Pyramid Golds these Rotos are my favourite flatwounds and once they've settled in they don't suffer from the Pyramid's extreme unbalance in sound between strings.
Highly recommended!
The Rotos are far better allrounders than most flatwounds in my opinion. Which of course also means that if you're looking for the old school 50s/60s thump they're not the right choice.
The regular 45-105 is a bit too stiff and high tension for me. So I decided to try this 40-100 set instead. They are perfect! The tension on this 40-100 set feels more like a typical roundwound 45-105 set, which is my personal preference.
They do however have some of the same quirks as the regular gauge set. Mainly that the D+G strings settle in and lose most of the "zing" pretty quickly while the E+A stay brighter for a much longer time. In other words they go through a phase where they sound quite unbalanced from string to string. I like my strings mellow and broken in so for me this means a couple of weeks of use before they sound the way I want them to sound.
Apart from that they're great and I recommend them to anyone looking for a less thumpy flatwound and like the sound of British 70s rock. Together with the Pyramid Golds these Rotos are my favourite flatwounds and once they've settled in they don't suffer from the Pyramid's extreme unbalance in sound between strings.
Highly recommended!
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H
Higher tension than normal roundwounds.
These strings appear well made and sound decent enough but I still prefer the sound and feel of D'Addario Chromes in the same gauges. These strings feel stiffer and have more tension in them which therefore requires a slight truss rod adjustment. I have gone back to D'Addario Chromes.
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P
Perfect for fretless
Thought I'd try these out as the price was fairly decent. Nice and smooth to the touch. Not the liveliest of strings of course but a perfect match for my Squier CV fretless Jazz Bass.
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m
A classic flatwound with some quirks
Classic flats from Rotosound! After trying flats from Thomastik, Labella, Pyramid, Fender, GHS, D'Addario, Ernie Ball and Galli, I've settled on these. It's all about the tone. They sound incredible... somewhat like a classic recorded tone when played out through an amp. Extremely warm and deep in the lows, a very distinctive Rotosound grindy midrange, and nice woody top end. I absolutely love them. If Labellas are the sound of American soul music, then these are 100% the sound of classic British rock. Think John Deacon / Queen, Roger Waters / Pink Floyd... you get the idea.
But, they have some quirks you should be aware of:
- Like all flats they take time to break-in, but here each string does so at a different rate. The G and D will break in relatively quickly, but the A and E will take more time. After a few months of consistent play they all break in fully, but even at that point you will find that brightness seems to increase as you go DOWN the strings. i.e. The G is dark, D less so, A less so, and then the E remains relatively bright. Fascinating, and opposite of what you'd usually expect from bass strings. Unlike other "thumpy" flats, this gives the lower end a unique kind of grind and round-wound like power that's totally different to a vintage flatwound. You really feel it in your upper chest when you play low on the E string.
- Monel is a non-magnetic nickel alloy, and so it's only the inner core that's interacting with the pickups. As a result they are low output strings. This doesn't present a problem (just turn up your amp / preamp) but worth noting if you switch basses.
- Tension is actually about 5 more than what the gauge advertises. So 40-100 feels like 45-105, and likewise the 45-105 set feels like 50-110. This 40-100 set is most comfortable for me (I like 45-105 in general), but note also that they are on the stiffer side for flats, even at this lower tension. They're also a little rough for flats. Their windings are actually diagonal, and even after broken in they feel a little more like ground-wounds, than something like the glassy smooth finish of other European flats like Gallis, Pyramids or Thomastiks.
But, they have some quirks you should be aware of:
- Like all flats they take time to break-in, but here each string does so at a different rate. The G and D will break in relatively quickly, but the A and E will take more time. After a few months of consistent play they all break in fully, but even at that point you will find that brightness seems to increase as you go DOWN the strings. i.e. The G is dark, D less so, A less so, and then the E remains relatively bright. Fascinating, and opposite of what you'd usually expect from bass strings. Unlike other "thumpy" flats, this gives the lower end a unique kind of grind and round-wound like power that's totally different to a vintage flatwound. You really feel it in your upper chest when you play low on the E string.
- Monel is a non-magnetic nickel alloy, and so it's only the inner core that's interacting with the pickups. As a result they are low output strings. This doesn't present a problem (just turn up your amp / preamp) but worth noting if you switch basses.
- Tension is actually about 5 more than what the gauge advertises. So 40-100 feels like 45-105, and likewise the 45-105 set feels like 50-110. This 40-100 set is most comfortable for me (I like 45-105 in general), but note also that they are on the stiffer side for flats, even at this lower tension. They're also a little rough for flats. Their windings are actually diagonal, and even after broken in they feel a little more like ground-wounds, than something like the glassy smooth finish of other European flats like Gallis, Pyramids or Thomastiks.
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