Originally Posted by GusW
I have only played one with the Greasebucket tone circuit and that was for a short period of time but I was immediately impressed. The neck PU on a Tele always lacked "personality" and the standard tone control made the sound a bit more dull (rarely used it on my Esquire or Tele's) so this seems to be why I found both the TV Jones PU and this tone circuit to be so appealing.
Caballo Tono arrives Tuesday! I'm getting a half a dozen different types of strings from chromes to pure nickel to nickel plated to various other combinations. I even have a set of Thomastik-Infeld .10-.44 Jazz flat wound I'm itching to try.
As you probably know, many 50's and early 60's guitar greats used flatwound strings and not just for jazz or on archtops. The Beatles even used Pyramid flatwounds for a while. Some great retro guitar players like TK Smith use flatwound 12's on their Tele's for Western Swing and Rockabilly. Even if you aren't into these styles of music do a YouTube search for him and enjoy his playing as well as the beautiful guitars he modifies or builds from scratch.
I played flatwound strings for years. I only have 2 electrics - my 347 and my Ibanez RG. If I had a dedicated jazz guitar I might consider flatwounds, but these days I prefer a brighter, more sustaining sound anyway - even in jazz. IMO, the negatives outweight the positives, unless you have a lot of guitars.
They're dull sounding and lack sustain - which is great for certain styles of jazz, particularly bebop. But it's terrible for most genres of music. The only other positive I can think of is that you get much less fret wear. With that said, I've never played flatwounds as light as 10-44. I used to play the TI George Benson set, which is a bit heavier IIRC. I think around 13-50. Never seen such light gauge flatwounds.