Quote:
Originally Posted by Adrian Juras
I know that Ken had created a thread("The Bass"), but I wanted to expand a bit on using Flexocor 92's in a Jazz or Theater context. While my good bass is in getting some work done, I had decided to try out Flexocor's on my Hofner. The bass previously had Superflexibles on it, but it just was too bright sounding/stiff on top. While the bass isn't carved, it is fairly responsive, and I have found the Flexocor 92 to be a decent match(I left the Superflexible E on with Flexocor A D G). They haven't been on long however. I am playing a Theater gig(Cabaret) all of this week/weekend so I will post my thoughts on the strings as that nears an end. My initial impressions are that the 92's give you a very dark pizz sound, but with enough attack to be heard. They respond completely different than spirocores do. More fundamental, less harmonics. I am not sure how well I will get used to the sound, but it definitely has a sound that suits the music I am currently playing. I would be interested to hear any other opinions on using these orchestral strings in a Jazz context.
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I have used Flex 92s in both regular, stark and mixed with stark E on a reg. set on a few different basses over the last few years. More fundamental is correct as you year the note more than the noise around it like on some other strings. Your pitch will improve as well as it will be more noticeable. Also, if and when you pick up a bow you will smile more than in the past with jazz strings. I find it hard to even try a jazz string with the usual bowing limitations. I would rather use a string with less growl and smoother bowing than scratchy bowing and more buzz noise.
My main all around bass is the Martini which works with almost any string. It is deepest/smoothest with Belcantos and punchier and clearer with Flexocors. This bass prefers the Stark E or Stark set. The regular E is not enough to make this top move. It's a bit of a tank but punches hard when provoked!