LawrenceH

[quote name='JTUK' post='812074' date='Apr 19 2010, 11:36 PM']Not sure it is that easy to pick the specs and get that tone. Some combinations just seem to gel better than others so you just have to find that one that sings for you, IME and then beg, steal or whatever... You could do worse than talk to Aaron Armstrong about pickups and he might get you close...he could certainly tell what pickup config should do what, but I think the biggest factor is the woods and how they react together..IMV. I have a RW board that does that sound far better than my maple...and even with a lot of EQ, the maple doesn't get that close. It hasn't got that naturalness in that sound. You are going to have to reconcile yourself that that bass you have doesn't do that for you...so start saving for that new one that you'll find. Then you have to decide whether to keep what you have as they supplement each other or sell your present bass, IMV[/quote] Cheers - a shame as I love this bass, especially the unplugged tone - and that was the problem with my old Ibby, unplugged it sounded way different to the tone I was after that I felt no electronics change would sort it out (though Nordstrand Big Singles made it work a lot better and would be a straight up killer tone for some people). I kind of hoped I had the wood right and it was a matter of sorting out the electronics. I will keep an eye/ear out for the 'perfect one' and beat away at this one in the meantime!

[quote name='deaky' post='812036' date='Apr 19 2010, 10:49 PM']Yeah its a groovy looking bass. I dunno if I should wait tho and grab a Geddy Lee or get the classic instead. Would there really be any great difference in sound?[/quote] I A/B-ed a Classic 70s and a Geddy Lee. They were in a similar place tone-wise but the Geddy Lee sounded a lot duller and a bit thinner - but I think this was a setup issue, the pickup heights on the GL were well off. I much preferred the feel of the Classic Series neck though, pretty much the nicest-feeling neck I've played on a Fender.

[quote name='OutToPlayJazz' post='812014' date='Apr 19 2010, 10:34 PM']Where are you based, Lawrence? If you aren't a million miles away you could bring it over and we'll experiment with it. I was also thinking that some DR Marcus Miller Fatbeams my help as well. They're still the best strings I've ever heard on a Jazz.[/quote] Thanks, that's a really kind offer! Unfortunately I'm in Edinburgh but one day in desperation I may well take you up on that, I do have family in Lincoln/Louth which looks like it's not too far from you. I have Black Beauties on mine at the moment which are probably not the best choice for what I'm after. I believe he used Rotosounds (which I hate the feel of but would be prepared to suffer for that tone!). Even left on for months and months his strings still had a phenomenal amount of snap and grind which makes me think there was something inherent to that bass (and the similar active one that I mentioned). On my previous basses Rotosounds would sound dead within about 2 weeks, though I've not tried them on this one.

[quote name='OutToPlayJazz' post='811982' date='Apr 19 2010, 10:08 PM']As far as I know, the Fender single coils have always been equipped with alnico magnets, but I'm sure someone will know of one range or special that's the exception to this. The biggest tone changer as far as I've experienced on the Jazz is the body wood. Some of the ash bodied models really "sing" completely differently. I know that around 2000-2007 you could order an Am.Std with the ash body as an option over the usual alder. I know the exact tone you mean as well - JohnGH has a lovely Japanese 75 reissue in natural ash with "American Vintage" pickups and that one has "that" sound. Pity I didn't keep that one, really.[/quote] Thanks for the response - I think mine is the same model: natural ash, US vintage pups. It sings smoothly but it doesn't bark or honk! This magical other bass was quite a heavy instrument. Mine's not light though, and acoustically they're not a million miles away. One of the biggest things I remember though is that plugged in, you only had to dig in a little bit and it would give such incredible growl that it was almost like the tone you get with popping. Here is pic of the elusive beast in case that helps with identifying. Sadly (but wisely) my friend would never sell her! [attachment=47760:bass.JPG]

Hey all, I used to run a jam night which meant I got to hear and play a fair few different basses. My absolute favourite tone-wise was a friend's maple fretboard jazz which had a really huge, aggressive mid-range honk and snap with still a decent amount of low bass. It was passive and as far as I know was an American standard, probably late 90s, maybe very early 2000s. All original parts as far as my friend knew. I now have a Jap 75RI with maple neck and the alleged US Vintage pickups (AlNiCo?). The tone is pretty reasonable, sounds like a jazz, but the more I play it the more I realise it doesn't have anything like the huge tone of this other jazz, it is much smoother and less in-yer-face. Incidentally my second-favourite from that jam was a Fender Am Deluxe RW probably from the same period, which sounded similar (but not quite as good) and the pickups in that were definitely stock. So...can anyone with an appropriately encyclopaedic knowledge of jazz basses tell me a) what pickups were Fender loading into their basses around this period, b ) where might I get some and c) given that I have a maple board Jap jazz that sounds quite lively acoustically, is finding similar pickups to whatever was in this mysterious wonder bass going to get me that magical tone? The neck pickup in particular was huge with an incredible growling, hollow honk. N.B. I have fiddled with the setup quite a lot on my bass, I can't get close, and the character of this other bass was preserved through two very different setups (for at least a year until he had it adjusted it played like a complete dog, but still sounded immense). Ceramic pickups? Anyone who can help me achieve this tonal nirvana is an utter legend. Cheers Lawrence

[quote name='JTUK' post='811795' date='Apr 19 2010, 08:17 PM']As far as I know... Aguilar don't feature a NEO range and Berg are supposed to have their own designs of NEO..as all others were deemed inferior. Maybe that is true, maybe it is BS... but even retailers seem to make the distinction between Ceramic and NEO in the Berg range and say the HT series, for example, have a better low end over the AE. I like the 10's in Markbass cabs, although I am more familiar with the 102 combo. Not interested in 15"s in general so could give any makers range a miss. I am a convert of 12's though.[/quote] I /think/ the Berg neos are Eminence - and that probably means that like other OEM drivers they're based on a standard Eminence chassis design with the voice coil/driver/surround tweaked to Berg specs. But as far as I understand it a gain in one area means a loss somewhere else, so it depends what you're after. Looking at specs I'd bet a sackful that the AE 12 drivers are modified Eminence Deltalites. FWIW I'd prefer the standard Kappalites used in the Barefaced range, they have a significantly beefier magnet. Aguilar ceramics are almost definitely Eminence. My guess is that they're loaded into 'too small' cabs to boost the sensitivity in the high-bass 'power' region and that's why I don't like them. The B&Cs in general seem better optimised for true bass in small box applications and that agrees with what my ears tell me, though I'm sure the smallest Markbass cabs are pushing this to the limit.

[quote name='Musicman20' post='811434' date='Apr 19 2010, 03:30 PM']I went to Soundslive today and they have some new Markbass combos in. Ive seen them 'in the flesh' now and I must admit, the quality of build is stunning. I would definitely consider a new Markbass combo, albeit it one of the small 112s I think.[/quote] I have been very impressed with their small combos. I don't really get why some people are so negative about the Markbass cabs - those B&C drivers are as good as any in the world, certainly they more than hold their own against apparently similar-spec'ed but cheaper offerings from Eminence which seem to be used by several other manufacturers (possibly Bergantino and Aguilar included?). Perhaps the smallest cabs are a little too small to give true deep low-end and instead give a high bass/low mid 'bump'? I'd have thought the slightly larger cabs per given driver size would sort that out though, and that is also something that I've noticed to be much more apparent on the Aguilar cabs I've heard - too much between 100 and 200 for my taste.

As others have said, within certain limits it's all about the speakers. There's not much difference in volume between 150 and 250 watts, through the same cabinet - the main practical benefit is a little more clean headroom for transients. I did pub gigs quite happily with an Ashdown Electric Blue 150 watt 1x12" (old UK version, better than the current Chinese one). The driver is a Sica/Jensen unit I think, and is quite sensitive at the bottom end compared to a lot of small combos I've tried, although it lacks upper-midrange. I guess this post isn't actually very helpful, but I think what I'm trying to say is don't worry about watts and concentrate on perceived volume and bottom end. Larger cabs with more speakers in will in general be louder watt-for-watt, and modern speaker drivers are more capable than older ones at going lower, louder. How big can you afford this rig to be and what type of music will you be playing?

The tecamp combos have a little leg that clips to the back when not in use, that lets you angle the amp back a very useful amount. Alternatively, for my trusty little Electric Blue I bought something very similar to one of these: [url="http://www.soundslive.co.uk/product.asp?id=5498"]http://www.soundslive.co.uk/product.asp?id=5498[/url] Folds away much smaller and is much lighter than typical Quiklok amp stands, and the amp is still close to the floor (helps with LF coupling). Plus, unlike a tilt back combo, it has multiple tilt positions which is handy for standing different distances from your amp e.g. on different sized stages. Also it has a top that'll accept a mic boom arm so it can double as a space-saving mic stand for the combo. I've found it a very useful piece of kit for both bass gigs and when doing sound for bands with guitar combos - really gets it in their ears and they can often turn down so you have a more controlled FoH sound.

I don't think blaming someone's technique is very helpful when knocking the pole pieces clearly has next to no effect on other decent jazz basses (my Jap 75 at least, as I just tried). Technique or not, there's something wrong with the instrument. Thanks to the OP for a helpful review of the cheap elements of these basses - there is a lot of love here for them but I can't help thinking people are being almost defensive about them, any shortcomings being put down to budget as if they're amazing value. You can buy an Ibanez with a 5-piece neck for £230 for goodness' sake! And I've not come across an Ibby or Yamaha with poor QC in the last decade at least. Of course, everyone wants 'that' Fender sound and look now but when you think purely in terms of the components and manufacturing techniques involved, Fenders are not good value and these Squiers are more of an overdue catch-up with other instruments at the lower end of the market. I'm not disputing that they're well worth the money if you want that sound (which I do, oh yes).

[quote name='BassBod' post='799579' date='Apr 8 2010, 10:31 AM']Nice very British basses...but people try to make ££ on the JPJ assosciation. Buy them for what they are, not who plays them[/quote] His brother makes wonderful acoustics...Personally I can't stand the guitars he makes for Muse but a friend has a wonderful custom Tele with tone to die for, I'd assume his basses are of a very high quality as well.

Lots of people will be recommending the Squier CV. But I was most impressed with the Mexican Classic 70s instrument I tried, lovely finishing, nice sounding pickups, played beautifully.

[quote name='pete.young' post='787760' date='Mar 27 2010, 12:10 PM']And the sergeant came along and said: Ooooh! Snap!! [url="http://cgi.ebay.co.uk/SGC-Nanyo-Bass-Collection_W0QQitemZ260575178215QQcmdZViewItemQQptZUK_Musical_Instruments_Guitars_CV?hash=item3cab7dade7"]http://cgi.ebay.co.uk/SGC-Nanyo-Bass-Colle...=item3cab7dade7[/url][/quote] That's bloody gorgeous wood - 3pc neck too as far as I can tell. Missing the truss rod cover. Looks like a 320, but a damn nice one. If I had a spare 300 squid I'd bite...but that might be because I'm pining for my 330, which is in storage

[quote name='AttitudeCastle' post='781091' date='Mar 20 2010, 07:41 PM']Thanks! thats as much as i thought...[/quote] My old Electric Blue 12-150 is UK made. For a cheap amp it's IMO as good as you can get and has taken serious abuse without once complaining. The newer ones are Far East-made and I believe reliability has been more of a problem.

[quote name='BarnacleBob' post='780645' date='Mar 20 2010, 11:38 AM']It is USA and 22 frets(99% sure) BB[/quote] With blocks and binding it's going to be a Deluxe QMT, similar to this: [url="http://www.guitarguitar.co.uk/preowned_guitars_detail.asp?stock=px-NE15RS37"]http://www.guitarguitar.co.uk/preowned_gui...ock=px-NE15RS37[/url] Lovely basses, my friend has one.

On what basis are people saying 400 series rather than SB315? Looks like an SB315 to me, at the basic end of the range - but still good instruments. Sadly for sellers they have not kept their value well these

[quote name='bass5' post='761689' date='Mar 2 2010, 11:59 AM']My PRS bass was signed by Paul Reed Smith (see pic attached) and... if you follow my train of thoughts... [/quote] ..you're going to murder Paul Reed Smith..?

[quote name='bh2' post='759047' date='Feb 27 2010, 01:03 PM']You need to look at the first post. Moo![/quote] I have, and I see a black-blotch-on-white pickguard, not a white-blotch-on-black...am I missing something?

[quote name='bass5' post='759002' date='Feb 27 2010, 12:04 PM']Well I realized that when I finished it looked a bit too busy, so I peeled off the blotches again and reapplied them (this time, less of them and more widely spread so not too busy) I think I am happy with this second version. [/quote] That is certainly eye-catching...I know it's too late now but I think a white-blotch-on-black pickguard to match the strap would have been cool!

I've wondered how close you can get to a P tone in a j-pup form factor. I would be interested to hear how this Nordstrand pickup performed: 'nj4se humbucking split coil 4 string jazz-type bass pickups These are a split coil hum cancelling design. They use the same hand wound pattern found on our NJ4's but with a finer wire called 43 gauge enamel. The natural character of this design is to have a more pronounced lower midrange, and a slightly muted high end' They suggest using it at the bridge but it sounds like it could do a job in the neck position assuming they make one that size too.

[quote name='Buzz' post='751551' date='Feb 20 2010, 03:40 AM']However, as we know in the real world for instruments, percieved value really does rely on QC, hence why no-one on here to my knowledge has picked up an actual bad Squier VM bass (maybe that extends to the CV as well), yet occasionally you hear of bad MIA Fenders (granted, not as much since early last year when the '09 models came out). With the high QC you find that while the instrument make lack the nicities and extras of the higher specced models, the important parts like parts fit, fret finishes etc... are of a good quality and so allow the instrument to perform to the best it can based on it's design.[/quote] 2 out of 2 VMJs that I tried, one in Manson's in Exeter and the other in Scayles in Edinburgh, were what I would consider 'bad'. Poor finishing on the neck and frets in particular. I've never seen that on an equivalent-priced Yamaha or Ibanez whose QC seems MUCH tighter. The Fender basses are incredibly simple designs, the Japanese have proved how cheaply consistently good clones can be knocked out. Having said that, the designs just sound 'right' and are incredibly versatile. Despite my being unimpressed with the finishing and playability of the Squiers I tried, I think that if a good one could be found it would be a great starting point if you didn't have the cash to get the 'ultimate' j-bass straight off as the acoustic tone was very lively and satisfyingly warm. My tastes have evolved with my playing, and upgrading allows one to tweak to match these changes without the one-off expense and uncertainty that getting a whole instrument involves. It's nice to have an instrument that has been put together with lots of thought to match your own style and goals. Carefully selected VMJ with pickup upgrades would still be my choice for a budget killer jazz at under £300. I've never tried bridge upgrades but frankly since the main contribution people talk about is more sustain I don't see the point, I mean I hardly ever let notes ring for more than half a second anyway! I fancy the VMJ over the Classic Vibes because of the maple.

[quote name='The Burpster' post='747970' date='Feb 17 2010, 07:00 AM']+ another 1 Dont give up on 'ray, just 'mellow him out' a bit![/quote] + another other 1 - I was about to suggest this if no-one else had.

This is awful news. I'm so sorry. I remember commenting on Jimmy's thread regarding my experiences of my wife's dyslexia, and being very struck by the frustration he felt. It is very sad if something like that overshadows the other more fundamental aspects of an individual. So with that in mind, a sad goodbye to our fellow musician and basschat community member, and heartfelt condolences to Jimmy's family.

[quote name='Clarky' post='743561' date='Feb 12 2010, 10:31 PM']I have managed to track down the original pickups for my 73 Jazz. Just arrived and they are covered in gunk from the old owner, including white adhesive from sticking plasters that had been placed at one end of each of the pickups (maybe to help him with thumb placement, can't think why else?) Any tips on how can I clean the black pickup covers? I don't know how robust they are - ie, if I used something like white spirit would it clean the covers but also damage them? All help gratefully received, ta.[/quote] Have you tried just soaking them in warm soapy water? I wouldn't think an alcohol-based solvent would do anything to them but water's always the safest option to start with. EDIT: Naturally, I mean the covers only without the pickups in!

One man's meat is another man's poison. For a while in the 2000s 'Trace Elliot' were dirty words that you felt ashamed to say. But I've always felt they offered a good punchy tone, if a little 'rock' (ie not totally clean)...reconfirmed for me the other day when auditioning a BFM Jack 10 cabinet using a Trace AH300 (it sounded awesome btw). Never liked the Crates, or the smaller GK stuff. And I had a 1000w HH head which was the worst, nastiest-sounding amp I ever heard! But I started out with an Ashdown Electric Blue 12" 150, which has a very useable tone not a million miles away from a good Trace Elliot. Apparently the more modern 180w versions are made in China and suffer reliability problems. Mine is an earlier version made in the UK and has survived some brutal abuse at pub jams. I've seen these go for around £120, maybe less, and I haven't heard an amp which offers a better balance between tone, portability and price. Other modern models at this end of the market seem to lack the depth/punch although they may have a more sparkling top-end (though the Ashdown does well enough for me, and I like a well-defined funk sound with a bit of 'zing'). More information about the music/bass sounds you like would probably help people make more targeted recommendations...different combos sound very different indeed. And what bass you have as well.