dclaassen

Good comments here… I’ll add… ability to do a tight turnaround with the bassist can create a tight, exciting soft after a huge buildup Great right hand

I could just mix into mine, but the current setup is what the band is used to, and I’ve just started with them

I am considering this for our pub band. We would have to record live, so I’m thinking of using a second board into pro tools. Vocals straight from the FOH board, amps di’ed, amd the drums mic’ed. Might be more trouble than it’s worth though, as pub owners/landlords want reassurance that beer will flow and fun will be had…which means video and/or pics.

Locally, Music Street in Huntingdon is fabulous…good stock and a very friendly and knowledgeable staff. Nationally, I’ve had great experiences with both Thomann and Gear4music.

With the stipulation that we bass players are tone obsessed…. ”My sound” is the tone in my head when I imagine myself playing. That comes from lots of experience and also hearing great bass tone live and on recordings. I set up in whatever venue, dial in the basic tone I want, then tweak it a bit on the first few tunes of the set. Easy with a rock covers band in a crowded pub…harder with a jazz band on stage somewhere. Different styles require different gear, and each has a different tone I’m aiming for.

I’m another lefty that plays a right-handed bass. Since I started that way, it’s always felt normal. I would also recommend….

Pub gig in Elmsett with Dirty Hands. Small village, great pub that was full all night. We played well, and folks were happy throughout…good times! Used my new usual rig of Jazz 24 with the beastly Dual Showman…gives such a warm, clean, solid sound. I just put new rounds on, so the fingertips are a bit sore this morning…

I have been told the pointy bit is Leo extending his middle finger…

If you ever get tired of that MM cab, I’ll be happy to take it off your hands!

Cannot forget Thomann's own Julia Hofer.....

Not a pickguard in sight...

Interesting about the series switch...might have to try that. I have played in rock bands with 2 different J basses. The first was a '68 (sigh) that I set up with both pickups full on and the tone in the middle. It went though a Music Man head and a Bullfrog 18. No problems with bass response. Now, I have a Korean Jazz 24. It's active, so bass is not a problem. I still keep the pickups mostly 50/50. Maybe it's personal preference, but I think a Jazz sounds better with lighter strings.

Tal Wilkenfeld is AMAZING!

I wonder if the “ one bass for a certain sound “ thing is valid beyond visual aesthetics and personal preference. Three are so many variables in bass design, strings, effects, and amps…I think you can get to a certain place sonically from many different directions. You can get very close with your Yamaha, IMO

Sounds good! This would be my first one!

Probably....and both Volvo and Jazz bass are supremely good at reliably getting you where you need to go, every time, for year after year...lots to be said for that. If I want excitement, I will grab one of my 5's......:)

I own and jazz bass and a Volvo....

Good thing I am an unrepentant tightwad. I can actually walk into my local music shop and buy nothing at all.....(and they have a really nice Sandberg J bass in there, too...:)

Soooo....you're telling me that I NEED to buy more stuff to save money, right????....:) I think that is a very solvable problem.....:):):)

Has anybody tried these strings? I want to experiment with a different type of flatwound, but don't want to waste a lot of money if I don't like the feel. I am currently running LaBella Low Tension flats that came on my fretless Spector. Nice sound, but the B string is really tubby, almost to the point of being unusable. I mostly use this bass for Jazz or Rockabilly stuff. I cannot use coated strings because of the Fishman system on the bridge pickup.

I really like it…appropriate levels of intensity.

Spooky, but the ARS Version

I think the use of 9's is a great alternative to a leading tone. Nicely put, and I really appreciate your taking the time to respond.

42 years teaching and playing music….it’s been a great life.

Okay...I teach and recently got the audition music for our European Jazz Seminar (I work with US military related students) Most of the kids that will audition will be 16-18 yo and pretty good bassists. One of the audition pieces is "Blue Daniel"....fastish 3/4 time. Almost every chord is extended (Eb6-Db9-Cm9-F13-etc). Now, if I was creating a bass line with this, I'd use lots of arpeggiation making sure you have a root and either a 3rd or a 5th somewhere, and maybe comp some of the extensions on weak eighth note beats . I personally think it's annoying when bassists get so far into the extensions that they lose any sense of the chord structure, but that's just me. I also think it's mind-numbing when a bassist always approaches the next root from the M7. What would YOU do? Assume most of these folks will be on either upright or 4 string electric. (I'd do it on a 5).