Linus27

Does anyone have or know of a good source for some high quality James Jamerson pictures? The famous one that comes up when searching on google that I have posted below is pretty low quality. I am happy to use that picture but it needs to be much higher quality. If not, then any other pictures would do as long as its high quality.

[quote name='Gareth Hughes' post='1193956' date='Apr 9 2011, 06:19 PM']Here's one from 2008, though the DVD was just released last week. Playing my much missed, but sadly feedback inducing, carved bass I bought from Ken Smith. I can't blame it for my dodgy intonation tho Artist is Kieran Goss, with special guest Brendan Murphy [/quote] Really enjoyed that.

For me, it would be Fender MIA colours and styles. The range that the MIA Jazz and Precisions have is crazy small. Then go and look at what Fender CIJ do and its amazing. I would personally like more matching headstocks and more binding and blocks on the Fender MIA range.

[quote name='chris_b' post='1201920' date='Apr 16 2011, 04:26 PM']Jamerson wasn’t stupid, so with that number of people telling him his bass lines were great he must have known his worth to Motown. I think he knew his bass lines were selling the records and I think that’s why he got so frustrated towards the end when the arrangers were just giving the musicians the dots and that accelerated his self destruction. The Funk Brothers had 15 years to evolve and they grew around JJ. In LA he was just another guy, and one that didn't do as he was told! He faced competition for the first time in 15 years and couldn't meet the challenge or change to survive. Berry Gordy wanted to get into the film business which is why he relocated to LA. I don't know why he felt he had to trash Motown in order to do it! Not a good business decision.[/quote] Cool, thanks for the info. Is there any good books about Jamerson or the Funk Brothers?

I watched it for the first time last night and wow, what an amazing DVD. The things that struck me was what a great bunch of musicians and all so supportive and friendly. No ego's or premadonna's. Just a bunch of guys who loved music. Also Jamerson came across to me as a very old fashioned, stubborn guy who had no idea how truely talented he was. Plus, why oh why did Motown just up and go to LA? Very strange decision.

[quote name='Grand Wazoo' post='1200945' date='Apr 15 2011, 04:49 PM']How can it be too bass heavy, at 12'o clock the dial is flat and at 1' to 2' o clock is just barely over the flat setting. I could agree if you were talking about a bass with a ballsy preamp, but not a passive one like P bass, which actually needs that bit more of bass presence.[/quote] Oh, I find turning the low dial up makes it very bassy. Its either flat or at 11 O'Clock. At the moment I have it set at 12 O'clock and the Low Mids at 9 O'Clock. Maybe I have overly bassy fingers

[quote name='Grand Wazoo' post='1200935' date='Apr 15 2011, 04:42 PM']TIP: If you keep the VPF filter off the tweeter does not come into play, so no need to disconnect it[/quote] Thank you, did not know that.

[quote name='molan' post='1200459' date='Apr 15 2011, 11:20 AM']Wasn't one recovered about a year or so ago? Bass Player Mag ran an article on it - way over the top editorial about you could [i]feel Jamerson't presence in the room[/i] sort of stuff[/quote] Was that not one of Jaco's basses?

[quote name='LawrenceH' post='1200927' date='Apr 15 2011, 04:34 PM']Much earlier it was mentioned and you seem to have found a solution...but disconnecting the tweeter, and potentially a crossover if there is one, is definitely worth a shout here to get a smoother old-school thump. Also, I personally think the Markbass cabs are excellent but rather forward and detailed sounding, so it's not surprising that if the strings don't give you the sound you're after you will really notice it on their cabs.[/quote] I don't think you can diconnect the tweeter on this or if you can then I have no idea how to Yes I think you are right in saying that because the cabs are forward and detailed, any change is noticable. Something I need to keep in the back of my mind and not just brush it off as sounding crap.

[quote name='Grand Wazoo' post='1200390' date='Apr 15 2011, 10:38 AM']You are welcome to experiment with my settings below, bear in mind that I have the CMD102P (2 x 10") and that I have changed the head to a Little Mark Tube, but with the tube turned off it's exactly the same as a Little Mark II or Little Mark Combo head. Ignore all the controls with a big X as they are obsolete on a Little Mark II or Combo Head [/quote] Hey thanks. I think that might be a bit bass heavy for my liking but I will give it a go.

[quote name='dave_bass5' post='1200394' date='Apr 15 2011, 10:40 AM']Well your Ashdown was probably hiding all the good stuff from you ;-)[/quote] HAHA I liked my Ashdown I hear you are thinking of selling your MB SA450 and going back to Ashdown. Do you have a suitable wooly jumper, Blue Peter style maybe or will you try the Val Doonican cardi this time

I'm just amazed at how sensitive the amp was to the different strings, it really was like chalk and cheese. I've never had that before in any amp, combo, rig I have owned previously.

Just wondering, did Fender ever do a James Jamerson signature model? If they haven't, I wonder why as he is so well known and respected among bassists.

Thats another 30 minutes playing and it really does sound like a totally different amp than before. Becomming very happy now

[quote name='Musicman20' post='1199984' date='Apr 14 2011, 09:35 PM']Great EB Group III flats are lovely. Not as costly as most and very very underrated. I am mellowing out some on my USA P Bass. They have some zing for a few months but they are calming a bit now. Try Dave's chromes too. I am at the same crossroads as yourself, and Im a bit worried going any smaller than 1x12 is pointless. I do play with a drummer, so I may as well go DI with a quality DI like the Tonehammer. So, Im on the fence as to whether I get a nice 1x12 cab and add my amp, or just go DI. There are some nice 1x12 combos, but much more costly than I want to pay for what it is going to be used for.[/quote] I don't think I could cope without an amp. I'm very old school We also play with a drummer but using brushes and hot rods so still soft and acoustic. I am undecided at this stage if I will use the MB combo for gigs. I would like to as it would make life so much easier but I need to get used to it more first before deciding.

I think, my problem has been solved. It was strings all along. I never mentioned this before as to be honest, I really did not think it would be such a big factor, certainly not in terms of how vastly different the frequecies are. Anyway, I have always used Elite Stadium rounds. They have been the best strings and only strings I have used for the last 20 years. However, after doing a lot of reading and recommendations from people here, I thought I would give a set of Rotosound Swing rounds a go. They seemed popular and the industry standard somewhat for rock music, especially for a Precision. So when I fitted them, I remember at the time thinking, mmm, ok but not as impressive but give it time and maybe they need to settle but the mids are certainly a bit high. Naselly is how I would describe them. As time went on, I got used to them but now having got this MarkBass combo, everything started to sound pants again which I thought was down to the combo. As a last ditch effort to try and fix the problem and before giving flats a go, I found a set of my favourite Elites and fitted them and WOW, it sounds superb. I can just about get away with running the combo flat and it sounding impressive. The tone is balanced, calm and if I want to smooth things off and get a bit more Motown thump, I just dial the tone off on the Precision and it sounds fab. I am totally amazed at the difference in the strings, its like chalk and cheese. I never ever expected that much difference in a set of rounds. I guess it really is a case of better the devil you know. Anyway, thanks so much for everyones input and probably for wasting everyones time I may still give some flats a go just to be curious to how they would sound.

[quote name='dave_bass5' post='1199818' date='Apr 14 2011, 07:40 PM']Michael. Ive got a set of Chromes (got them off Nick last year) sitting around. Your welcome to borrow them for a few weeks if you like.[/quote] Dave I have sent you a PM

OK, so I had another play tonight and the only way I can get it to sound half decent is if I run everything flat but with the low mids to off or even maybe at 9 O'clock. VLE and VPF are off. I thought I had some flats but when I went to fit them, the G string was not long enough. I did re-string the E, A and D and it sounded ok but to be honest, I am not sure they were flats. They were smooth to touch but if I run my nail over the string, it still had a rough edge. Not as rough as my Rotosound rounds but still a bit rough. So I am going to buy some flats. Anyone recommend some that are fairly good but not really expensive in case I hate them???? By the way, really appreciate all the help and advice. It has been interesting. At the end of the day, its just a combo and if I just use it for practise and home then so be it. At least for gigs I can go and use my Shuttle 6 and Aggy GS112 so its not the end of the work. A bit expensive and over kill but as JTUK said, you have to try these things and if it doesn't work out. It makes you rethink what you have which is the upside.

[quote name='dave_bass5' post='1199217' date='Apr 14 2011, 11:30 AM']Yeah, like i say ive used flats in the past, and still have a set of chromes that i know ill use again. I just find that it gives a certain tone that while it sits well in the mix, i miss the overtones you get with rounds. I do love the feel of flats though. I guess for Michael its worth a try. I find flats are great for getting rid of clank and fret buzz so maybe they will work.[/quote] My worry with flats is it will sound too boomy and dull. I love a really balanced tone and I am worried that I will loose the clarity with flats. Plus I hate the feel of flats but I guess I can get used to it. Maybe its time to move on and find a new sound. Smooth and warm. Of course if flats work out, I won't admit it. I'm too punk to admit to using flats

[quote name='skej21' post='1199166' date='Apr 14 2011, 10:51 AM']I play a Precision with flats into a LMIII/Aggy GS112 and I've never had a problem finding any sound that I'm after. Maybe it's just the combo that's the issue and a seperate speaker is the answer? As for the issue of just wanting to lug a combo to practice. Stick the amp head into the front of your gig bag and take one GS112. Will be just as easy to carry as taking a combo.[/quote] I'm interested to hear how the MB head sounds with my Aggy cab so I will try that at the weekend. Trust me, taking a combo is much easier. With the combo, all I have to do is pick it up, put in boot of car, plug it in at practise and I'm ready to go. With the seperate head and speaker, I have to unplug the speaker cables and mains. Bag up the cables and amp head. Lift the speaker off from the other and load car. Then unbag and re-connect all the wires at practise. Then bag it all up again after and re-connect it all when I get back home. OK so its not a major hassle, but twice a week for practises, the time probably adds up and its more of a pain taking my rig apart and rebuilding rather than just chucking a combo in the boot of the car. I think the way forward is to try flats as a lot of replies here have been people with flats.

[quote name='51m0n' post='1199061' date='Apr 14 2011, 09:26 AM']Linus, I'd seriously investigate hooking that amp up to a different cab. IME MB analogue heads (that combo has a 'digital' power supply but analogue poweramp IIRC) are really good at amplifing a nice warm version of the sound of the bass you plug into it. The cabs aren't the best out there (not as good as the amps IMO), they are OK but not worth the immense price IMO.[/quote] The only thing is, that goes against the whole point of having a combo. I already have a Shuttle 6 and a couple of Aggy GS112 speakers so I might as well stick with that if I was going to start using the MarkBass head with a seperate speaker. The reason for the combo is the band I have just joined is an acoustic type setup and so I wanted a nice easy option of one bass, one combo, plug in and play and no complications. We rehearse in the singers from room as its acoustic so having a combo is just so much easier rather than taking my rig apart, setting up in singers house, practise, take it all apart again and assembling again at home.

Thanks Steve. I will give flats a go tonight and if that does not work, then it might just be a case of using the MB combo for practises and I go back and gig with the Aggy cab and Shuttle 6. I had hoped to just use the combo but if its not to be then its just not to be.

[quote name='JTUK' post='1199035' date='Apr 14 2011, 08:42 AM']I like a P-bass sound and I have liked a few MB amps...not sure I would put them together though. Context is everything but the LMll doesn't amp up that well, to my ears, but sounds great at lower volumes and with a P-bass, I would want a tad of break-up in the sound, so..it wouldn't be my idea of a match-up in theory. But if it works for some, then..??[/quote] I have found this also. It sounds good at low volume but as soon as you amp it up, the tone goes all over the place.

[quote name='wateroftyne' post='1199030' date='Apr 14 2011, 08:34 AM']How loud are you playing? A small box will sound boxy(!) when driven hard.[/quote] Not loud at all. The gain is at about 1 O'Clock which is way before it starts to clip. The volume at zero is about 7 O'Clock so I probably have it at 8 O'Clock. I might had made some progress last night by having everything flat (at 12 O'Clock) apart from the Low Mids which were set to 9 O'Clock. The VLE and VPF were both off. I am still going to try flats though as I do want that warm smooth sound.