bassbiscuits

I think that's not bad tort at all Geek99. It's not a million miles from the old tort on my 1970 P bass, and well within the realms of both the Fender tort plate I sold here last week, and the one on my Sandberg California bass. Looks very decent indeed.

Yeah there's definitely a difference between real flats, and rounds with the tone rolled off. I'm sure I read somewhere that a sine wave (if that's the right word) of flatwounds being played show they fill out more of the actual sound, whereas a round wound has all the extra zing and attack, but actually gives less of the fat fundamental tone than a flatwound. Which is why you hear flats on a lot of recordings. In a nutshell they are very different sounds on a measurable level. Jury's out for me though. I've always used rounds for their feel, sound and flexibility. But I did stick flats on my old precision for some recording and they sounded and felt beautiful. Different, but very nice. For gigs I'm still using rounds most of the time tho. Maybe it'll come with age. I already listen to Radio 4, drive an old volvo and take my slippers round to other people's houses...

I watched a brilliant programme a few years ago about 1959 - a year in jazz - which featured groundbreaking albums by Dave Brubeck, Charles Mingus, Miles Davis and Ornette Coleman. While his stuff was by far the least accessible to a fair-weather jazzer like me, and was a bit over my head to be honest, he was clearly nonetheless a real visionary player.

[quote name='lou24d53' timestamp='1434104730' post='2796702'] As a direct comparison, would it be expected to be any difference in volume between flats and rounds? I've just bought my first fretless this week and as such, it's also my first experience with flats. It's a Squier Jazz, the modded Burgunday Mist one which was being sold via here earlier this week. Just from my initial plays at home, I was surprised at how quiet it appears in comparison to the other three basses I have which are all fitted with rounds - all passive btw, Fender AVRI Jazz, Lakland JO Dudepit and Lakland Decade. So, is a quieter tone to be expected from flats? [/quote] Hiya - yes i've noticed this too when i've switched between flats/rounds on the same bass. The flats lose much of the attack, midrange bark and treble snap of round wounds, and have a much softer sound, which all seems to translate as being a bit quieter. i think it's just the nature of flats and rounds that they behave differently, and sound different as a result.

One of my two precisions shown in my avatar - a sunburst 1970 which I've had for over 20 years, or the 1995 one i bought 10 years ago when the old girl finally succumbed to a refret, and which immediately became my go-to bass for almost every gig since. While the 1970 is lightweight and vintage and feels almost delicate, the 1995 weighs a tonne and is a bit of a bruiser - but it's loud, fat, perfectly set up and free from buzzes. Never gonna sell either of those, and every time i try other new basses I come back to these as my benchmark.

thats beautiful

Please to report it performed brilliantly at last night's gig. Very consistent and even note response across the whole neck, meaning I didn't have battle to make myself heard, which it turn made me play with a much softer, more relaxed touch. Very happy.

Yeah it's a nice looker ain't it? I'm not a massive relic fan but in this case it suits the whole package. Been playing it for two days solid and it's real comfy to play. Fingerboard is really quite flat tho I can't find specs on its exact radius. Feels flatter and slightly wider than fender 9.5 radius tho, with a really smooth finish on the back of the neck that feels like it's been buffed to a very thin light varnish. Very easy on the hands. Sound wise it's a lot livelier than my previous USA standard jazz - sort of springy and punchy but still with a fat, tight low end punch. Notes are very even all over the neck, and im not having to fight to make any heard. I've got no idea what strings are on it from the factory, but again they sound great and give a very even, very playable sort of tension across the whole neck. It is quite a different feel from my jazz, despite being similar at first glance, but very appealing, and extremely playable probably in part to the very low action and plek'd fretwork. So far, so good then! Tomorrow's gig (with the loudest drummer known to mankind depping on it) should be interesting!

ha ha - brilliant sentiments all! this bass playing lark is great isn't it...

I've just picked up a Sandberg TT4 - basically their version of a passive jazz, which seems to have a lot more poke and volume than the USA jazz i traded in for it. really lightweight on the shoulders too. gigging it tomorrow so i'll find out first hand how it performs...

At the moment i tend to keep coming back to a precision bass which is like an old pair of slippers (i.e. a bit smelly and stashed under the sofa...)

now updated with some pics

Sorry folks - been rushing round like a fool. Will post some pics tomorrow!

Went to Bass Direct for the first time today with my eye on a couple of jazz bass alikes, and ended up falling for a Sandberg TT4 - basically a soft reliced, cream/white passive jazz with a tort scratchplate. It wasn't what I actually expected to buy, but felt lovely and easy to play, light as a feather swamp ash and - as I found when I got home and plugged it into my own amp - loud as hell! I've always found myself drawn to passive basses, and this is no exception, but it's really articulate, bright and lively, spent most of the afternoon annoying my neighbours with it, and then realising how sunny it was outside, the rest of the afternoon noodling outside. My band's next gig is this Saturday, so it'll be getting an outing. Got a feeling it's going to sound very different to my usual thumping P bass tone, but there's definitely room for a lively singing jazz tone in my life. To be continued... Now with pics added:

I've got an unlined fretless Bass Collection SB301, which has earned its keep many times over. It rarely comes out nowadays, as I only ever do a handful of gigs or recordings which need fretless. But when it does it's so easy to play. Great action, dead comfortable, light as a feather.

1. The whole of Iron Maiden's Live After Death album - heard it when i was 12 and blew me away. The reason i learned bass, and have played along to it many many times (probably still know it by heart 30 years later, along with every detail of the glorious double gatefold sleeve!) Standout track - Revelations 2. Weather Report - Heavy Weather album. It really opened my eyes to the possibilities of bass after a couple of stagnant years of non-committal playing, and give me new purpose. Standout track - Birdland 3. Francis Dunnery - Tall Blond Helicopter (album). First heard it during a difficult time in life, and the songwriting really spoke to me. Still a brilliant album. Standout track - Only New York Going On 4. Karine Polwart - Scribbled in Chalk (album). Incredible Scottish singer/guitarist, with songs that will make you cry. Really profound stuff but with a lightness of touch, and moved the benchmark for me musically. Standout track - Daisy 5. David Ford - Let the Hard Times Roll (album). Saw this performed live before hearing the album, and its the sound of one multi-instrumentalist pouring his heart out musically and lyrically. Fiery, angst-ridden and brilliant. Standout track - To Hell With the World