What will a Jaguar Bass do for me.........?

[Obrienp]

In my experience it will neck dive badly but other folks experience may be different. NB, I’ve only had the SS and 32” variants but I would have thought a full scale may be even more inclined to be neck heavy.

[Cosmo Valdemar]

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Edited Thursday at 23:11 by Cosmo Valdemar

[Mickeyboro]

39 minutes ago, Cosmo Valdemar said:

That said, if you're doing anything Who-related the Jag (or Jazz) isn't your friend. Precision all the way. 

On a related note, Shel Talmy, My Generation producer, died this weekend… Surely that was the ultimate bass solo?

Edited November 17 by Mickeyboro

[Cosmo Valdemar]

55 minutes ago, Mickeyboro said:

On a related note, Shel Talmy, My Generation producer, died this weekend… Surely that was the ultimate bass solo?

And, ironically, played on a Fender Jazz 😆

[Rodders]

10 hours ago, Cosmo Valdemar said:

And, ironically, played on a Fender Jazz 😆

With Roto Tapes no less!

[Cosmo Valdemar]

1 hour ago, Rodders said:

With Roto Tapes no less!

LaBella flats 😄

Mind you, Entwistle's later memory was never the most reliable thing so who knows?

[bremen]

I know Beedster loves him a Precision, so why not  P neck on a Thunderbird body?

 

[Beedster]

2 hours ago, bremen said:

I know Beedster loves him a Precision, so why not  P neck on a Thunderbird body?

 

Interesting you should say that my friend……. 🙏

[ezbass]

[bremen]

[Beedster]

20 minutes ago, bremen said:

 Oooh 🙂

[Pea Turgh]

4 hours ago, ezbass said:

That’s gert lush.  Imagine also roastie maple and lollipop tuners…. Ooh err.

[ezbass]

2 minutes ago, Pea Turgh said:

That’s gert lush.  Imagine also roastie maple and lollipop tuners…. Ooh err.

The downside is that it’s not cheap, at its most basic, it’s a shade over £1400. A few extras (opaque colour, rosewood ‘board, better hardware, etc) and you’re getting up to £1800-£2000. Not bad for a custom instrument, but it would be good to have an off the peg option available.

[Pea Turgh]

1 hour ago, ezbass said:

The downside is that it’s not cheap, at its most basic, it’s a shade over £1400. A few extras (opaque colour, rosewood ‘board, better hardware, etc) and you’re getting up to £1800-£2000. Not bad for a custom instrument, but it would be good to have an off the peg option available.

There’s a couple of hours on the configurator well spent!  Marooshcheck have got your t-bird / jag desires covered!!!  Now to save £5k for the both of them 😭

 

 

Edited Tuesday at 17:26 by Pea Turgh

[Steve Browning]

On 19/11/2024 at 09:08, bremen said:

I know Beedster loves him a Precision, so why not  P neck on a Thunderbird body?

 

Not to mention the Limelight slab Precision at Classic and Cool at the moment. 

[Beedster]

2 hours ago, Steve Browning said:

Not to mention the Limelight slab Precision at Classic and Cool at the moment. 

Price POA never a good sign though! 

[Cosmo Valdemar]

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Edited Thursday at 23:11 by Cosmo Valdemar

[ead]

1 hour ago, Cosmo Valdemar said:

Worth noting that the Limelight Slabs aren't going to have "that" Entwistle/Leeds sound unless it has a maple cap neck, which I don't think it does.

 

Wasn't there a now legendary blind P bass shoot-out at one of the (southern?) bass bashes where it turned out nobody could really identify which configuration was which and the one everyone favoured wasn't actually a Fender P?

[bremen]

2 hours ago, Cosmo Valdemar said:

Worth noting that the Limelight Slabs aren't going to have "that" Entwistle/Leeds sound unless it has a maple cap neck, which I don't think it does.

Live at Leeds was the FrankenP (a Precision rebirthed from the wreckage of Precisions that Keith or Pete had had arguments with), I'm led to believe, no Gibson parts were used.

[Cosmo Valdemar]

14 minutes ago, bremen said:

Live at Leeds was the FrankenP (a Precision rebirthed from the wreckage of Precisions that Keith or Pete had had arguments with), I'm led to believe, no Gibson parts were used.

Indeed it was - but it used the neck from the Slab, hence the distinctive tone on that album.

[Beedster]

10 hours ago, Cosmo Valdemar said:

Indeed it was - but it used the neck from the Slab, hence the distinctive tone on that album.

JE believed there was mojo in the circuit from the slab bass. Truth will never be known, but it does demonstrate the (potential) virtue of swapping things around until you find a combination that speaks to you. I've spent most of the last 10-yars doing it 👍

[Beedster]

13 hours ago, Cosmo Valdemar said:

Worth noting that the Limelight Slabs aren't going to have "that" Entwistle/Leeds sound unless it has a maple cap neck, which I don't think it does.

JE's sound was 99% size and strength of fingers, plus training in instruments other than bass that gave him a less 'root-fifth mentality' plus having to compete with Mood and Townsend, plus being a naturally curious innovator. The other 1% was the bass.

 

There's a lovely interview somewhere in which JE says he had to be THAT loud to be hear above Townsend, who says he had to be THAT loud to be heard above JE. There is something really magical about the Live at Leeds tone, both bass and guitars, it's utterly visceral at times, a great listen even today 👍  

[bremen]

13 minutes ago, Beedster said:

JE's sound was 99% size and strength of fingers, plus training in instruments other than bass that gave him a less 'root-fifth mentality' plus having to compete with Mood and Townsend, plus being a naturally curious innovator. The other 1% was the bass.

 

There's a lovely interview somewhere in which JE says he had to be THAT loud to be hear above Townsend, who says he had to be THAT loud to be heard above JE. There is something really magical about the Live at Leeds tone, both bass and guitars, it's utterly visceral at times, a great listen even today 👍  

First album I ever bought (Who's Next shortly after) and by Timothy was it magical and visceral to an impressionable adolescent.

 

[Cosmo Valdemar]

36 minutes ago, Beedster said:

JE's sound was 99% size and strength of fingers, plus training in instruments other than bass that gave him a less 'root-fifth mentality' plus having to compete with Mood and Townsend, plus being a naturally curious innovator. The other 1% was the bass.

 

 

I respectfully disagree. His tone changed massively over the years, depending on his bass and amps. And he played at least 50% of the time with a pick in the 60s and early 70s.

 

His style and technique was entirely his own of course, but even that developed hugely.

 

But, this is going to lead us down the "tone is in the fingers" abyss and we really don't want to go down there do we? 😄

[Cosmo Valdemar]

47 minutes ago, Beedster said:

JE believed there was mojo in the circuit from the slab bass. Truth will never be known, but it does demonstrate the (potential) virtue of swapping things around until you find a combination that speaks to you. I've spent most of the last 10-yars doing it 👍

It's the maple cap neck. Aside from the slab body, that was the only difference. The pickup and circuit were standard. And as that tone was retained on Live At Leeds, where he was playing Frankenstein, logic points to the neck being responsible.

I used to own a replica built by @Rick's Fine '52. Maple cap neck from a Roger Waters sig, if I remember correctly. Steve Harris pickup. It had that definite extra snap and grit to the top end, so I'm content to believe the secret sauce was in the neck.