So as not to keep things super secret or clutter the Pedalboard of the stars thread I thought I'd start a new thread about this board and hopefully JMJ can chime in when he has time. Also saves us hassling him on PM and not sharing the answers

These are the boards in question

1.
http://i25.tinypic.com/2vjsdjk.jpg

2.
http://i27.tinypic.com/333ltgz.jpg

3.&4.
http://farm1.static.flickr.com/6/69191552_431d5721a8_o.jpg

5.
http://i27.tinypic.com/1581jb9.jpg

So ask away and hopefully we'll get some answers because I've got a lot of questions (That will be posted as I get bored throughout the day at work)

1) Are you fed up with Tayste acting like he's your best friend?

(BTW: you should get your Quasar and Echo Box today mate. Dig that Echo Box. Better than DBD!!)

2) What conditioner do you use?

On board 1

What does the button labeled Motorsomething on the DL-4 do/sound like?

I noticed on the loops you have either 1 or both of the MXR's in the same loop as the LBM, how are these being used?

Thats the blackbox on the top right?

What are the preamps that your signal is going to with that silver box at the end of your signal path?

How many signals are you sending to the desk live?

Across all the boards is there a favourite pedal that if you could only ever bring one pedal to something it would be your go to one?

Cheers

1) Are you fed up with Tayste acting like he's your best friend?

(BTW: you should get your Quasar and Echo Box today mate. Dig that Echo Box. Better than DBD!!)

You know you're my best friend :D

Dear JMJ,

Do you want a can of puppy repellant for Tayste?

thought this was ask A question

and on that note, how do you use the dual micro amps?

thanks!

On board 1

What does the button labeled Motorsomething on the DL-4 do/sound like?

I noticed on the loops you have either 1 or both of the MXR's in the same loop as the LBM, how are these being used?

Thats the blackbox on the top right?

What are the preamps that your signal is going to with that silver box at the end of your signal path?

How many signals are you sending to the desk live?

Across all the boards is there a favourite pedal that if you could only ever bring one pedal to something it would be your go to one?

Cheers

1) You've described the Bassballs as 'a fixture on Beck records', but I can't find any songs that have that Bassballs sound. Can you enlighten me?

2) When are you next coming to the UK? :)

I'm how you've used the Great Destroyer so far, and I'd love to know if there is a clip anywhere in existence of you using one...

I did ask Justin a question after reading a post he made in the amp/cab-section... and now some monts later im happy to say he wasn't kidding... it sure is heavy.. but it blows my pants off every time i hit the E-string! (so im always plaing in/on the g-string) :hiding:

:D

Remember that time you played on Beck's amazing album Sea Change?

That was pretty cool.

http://img.photobucket.com/albums/v641/KINGNAD/whatever/Chris_Farley.jpg

1) Are you fed up with Tayste acting like he's your best friend?

(BTW: you should get your Quasar and Echo Box today mate. Dig that Echo Box. Better than DBD!!)

Hadn't felt that way in the slightest, so I assume you're joking.

Thanks for the advice, don't know what a DBD is.

Mad Professor Deep Blue Delay

On board 1

What does the button labeled Motorsomething on the DL-4 do/sound like?

Just patches in a preset on the DL-4 for a Beck song called "Motorcade". Heavy mod delay.

I noticed on the loops you have either 1 or both of the MXR's in the same loop as the LBM, how are these being used?

I ran out of loops. I keep the loop active and use the MXR DI for that annoying yet kind of useful grainy distortion it does (blended very low), and alternate with the Little Big Muff. Underneath the top level of the board is another one of those DI's which actually functions as a proper DI, along with PSU's, etc.

Thats the blackbox on the top right?

It's an A/B switch my tech made for me to go between synth and bass on input.

What are the preamps that your signal is going to with that silver box at the end of your signal path?


SansAmp RBI and SVP-CL into power amp or Mesa Titan.

How many signals are you sending to the desk live?

Three. Clean DI, dirty preamp, mic cabinet

Across all the boards is there a favourite pedal that if you could only ever bring one pedal to something it would be your go to one?

SansAmp GT2 I guess.

Cheers

You got it.
JMJ

Hadn't felt that way in the slightest, so I assume you're joking.

Thanks for the advice, don't know what a DBD is.

Yeah that bit is a message to me he's returning some pedals he borrowed just to avoid further confusion

thought this was ask A question

and on that note, how do you use the dual micro amps?

thanks!

Cheap and easy way to match levels between wildly different outputs on basses before other pedals.

1) You've described the Bassballs as 'a fixture on Beck records', but I can't find any songs that have that Bassballs sound. Can you enlighten me?

Best example is "Halo of Gold", Skip Spence tribute. All other uses are mixed in and blurry, and/or I don't remember. I haven't actually busted it out in a while, that's probably an old quote.

2) When are you next coming to the UK? :)

Summer...don't know where or when yet though. Dates being looked at.

I'm how you've used the Great Destroyer so far, and I'd love to know if there is a clip anywhere in existence of you using one...

Haven't made a clip, but homey is such a cool dude I might hook him up. The pedal is rad, though. I use it whenever I'm called upon to make a racket, really.

Remember that time you played on Beck's amazing album Sea Change?

That was pretty cool.

http://img.photobucket.com/albums/v641/KINGNAD/whatever/Chris_Farley.jpg

That made me definitely LOL, as you inter-web people say.

Mad Professor Deep Blue Delay

...

...
sorry, it was an answer to you DBD question :p

Oh yeah this one has been bugging me for ages what is the mixer for in the studio picture of the 2 boards?

Also what are you using for the clean DI you stated in one of the earlier answers.

Thanks

sorry, it was an answer to you DBD question :p

See all these problems Toasted causes :p

Oh yeah this one has been bugging me for ages what is the mixer for in the studio picture of the 2 boards?

Also what are you using for the clean DI you stated in one of the earlier answers.

Thanks

Prolly just headphone cue system. DI under the board is an MXR DI...might hook up a Radial under there, though.

JMJ

I don't know where to start with questions about all those pedals so I'll just say thanks for chiming in, it's nice of you.

Also you have pretty cool hair.

Not an effects question, but I've always been curious. How much free reign do you have when you write with Beck? Does he bring in songs with a bassline in mind or just let you do your thing? Or are you part of the songwriting process from the very beginning?

sorry, it was an answer to you DBD question :p

ahh, cool

I don't know where to start with questions about all those pedals so I'll just say thanks for chiming in, it's nice of you.

Also you have pretty cool hair.

Cheers, dude! All good, a pleasure. My hair is a sentient creature that as of now I officially have no control over whatsoever.

I must admit, I am not extremely familiar with your work, but what album could I get to hear the best example of your work with effects?

Also, how many effects are you using per song on average?

Turn them all on.:bassist:

Also, how well does the Holy Grail Reverb work with bass? I believe I saw one on one of your boards.

Cheers, dude! All good, a pleasure. My hair is a sentient creature that as of now I officially have no control over whatsoever.

I hear Brian May has the same problem :D

This thread is about his board, playing and effects. Not anything else. Anything that even looks insulting will be deleted and infractions will be given.

Peace,
Adam

:(

I don't really know your playing or anything about you other than you have **** tons of effects, and from reading this thread that you played/play? with beck, which is sweet :D.

Dave is going to prune this one of unrelated stuff.

Justin contacted us about returning and now that SC Bassboy is banned. To reiterate, if you want to have a chance to converse with a pro, act like a pro and show him some respect. This is the effects forum so try to keep it effects/playing related. Any insulting posts will be removed and I'll personally contact Paul about banning on the first offense. This issue has already came up and everyone can consider this a warning.

I must admit, I am not extremely familiar with your work, but what album could I get to hear the best example of your work with effects?

Also, how many effects are you using per song on average?

Turn them all on.:bassist:

Also, how well does the Holy Grail Reverb work with bass? I believe I saw one on one of your boards.

Hmmm...effects are hard, 'cuz a lot of time I do stuff that's in the guitarist's realm. Good examples are:

Beck "Sea Change" (that's a tough one, because you have to play "figure out what's making that noise) and "Midnite Vultures"

Ima Robot, self-titled

Tori Amos, maybe Choirgirl Hotel

Air 10,000 Hz Legend

The score to "30 Days of Night". Most all the ambience and noise you hear, particularly the violent bits, is bass or cello.

I've done some of this stuff for BT that he's used across his projects for a while, but I can't point to a certain record.

I'll try to think of more, not sure right now. Definitely some movie scores, though the bass that I played in Ocean's 13 and stuff like that is just straight-up bass.

Per song? With Beck, it's usually 4-6 different pedals or combos. A total tap-dance.

Holy Grail actually doesn't work very well with bass, because as many of you may know the overall output is reduced as you turn up the effect. Kind of a bummer. I'm really needing a better spring, so I'm thinking of buying an external tank like a Fender and just keeping it on the floor in a loop, that way I can stomp on it and get the crashing sound.

Off to meeting and a rehearsal...I'll check in tomorrow.

Best,
JMJ

In picture #5, the assortment of loose pedals, what are the two in the center of the group, one being labeled "TGD", and the other being the white casing w/ 6 blue knobs?

Also, are there particulars on why the pedals pictured in #5 have not made their way onto boards, or is it more of a "flavor-of-the-month" type of deal?

Thank you for you valuable input to the TB community.

In picture #5, the assortment of loose pedals, what are the two in the center of the group, one being labeled "TGD", and the other being the white casing w/ 6 blue knobs?

Also, are there particulars on why the pedals pictured in #5 have not made their way onto boards, or is it more of a "flavor-of-the-month" type of deal?

Thank you for you valuable input to the TB community.

All those details are in the Pedalboards of the stars thread I listed all his pedals

[...]

Holy Grail actually doesn't work very well with bass, because as many of you may know the overall output is reduced as you turn up the effect. Kind of a bummer. I'm really needing a better spring, so I'm thinking of buying an external tank like a Fender and just keeping it on the floor in a loop, that way I can stomp on it and get the crashing sound.

Off to meeting and a rehearsal...I'll check in tomorrow.

Best,
JMJ

Perhaps a compact unit like the Furman RV-1 would be a viable option. They're spring tanks in a 1-RU sized enclosure, so it wouldn't take up too much floor space, but still gives you the option of "crashing" the sound. They can be had pretty cheaply on eBay. While not as lush as that typical "Fender Reverb" sound (IIRC, they're 3-spring, 17" tanks), it may provide what you're looking for.

Per song? With Beck, it's usually 4-6 different pedals or combos. A total tap-dance.


See I was wondering about that how much your sound changed in a song, I thought god he must just turn on 5 pedals at the start of the song and leave them but it would explain the funky dance moves on stage changing loads of effects in and out :D *cough*Gigrig16*cough* :D

All those details are in the Pedalboards of the stars thread I listed all his pedals

Thanks. I got overwhelmed last time I went to that thread, but I'll be a little more patient this time. :smug:

Not an effects question, but I've always been curious. How much free reign do you have when you write with Beck? Does he bring in songs with a bassline in mind or just let you do your thing? Or are you part of the songwriting process from the very beginning?

I know we've just been been warned to keep it on the topic of effects but that is a really good question and I'd also like to know the answer.

To make it more effects related, do you ever find that when you're working on stuff with Beck or another artist, you accidentally go overboard with effects? Do artist's or producers ever ask you to make things a little simpler? I ask this because I feel like I'm always stuck in a struggle between trying to write interesting bass lines that will get attention, and just playing something that suits the song. Do you/did you ever struggle with this?

I know we've just been been warned to keep it on the topic of effects but that is a really good question and I'd also like to know the answer.



It fine to ask questions like that. Sorry if I came on a little strong.

Anything to do with Justin's playing, bands, effects, music, scores, etc is fair game as far as I'm concerned.

Do you still have the broom-bass from the Sexx Laws video?

Do you still have the broom-bass from the Sexx Laws video?

ha... that reminds me, when I was a senior in high school they had this lip-synching / miming contest. Most people performed as Backstreet Boys and stuff like that, but my gang and I did "Mixed Bizness" and I guess I played the part of Justin, but as I didn't really know much about him at the time I was just being the bass player. Although coincidentally I did have really big hair.

Anyway it was really crazy. We threw bouncy balls and McDonald's cheeseburgers out to the crowd, and I was swinging a hula hoop round the neck of my bass, and during the breakdown the stage went dark but for a spotlight on three girls dancing in the middle, during which time the rest of us removed our pants and the lights came back up on us playing in our underwear for the rest of the song, which was quite daring for high school.

So yes, good times, thanks in part to JMJ :D

hey jmj, just wanted to say i appreciate the time you spend talking to us. your playing, along with zender's playing were 99% of the exposure i had to musical bass effects, and finally, after years of just listening, i've been incorporating effects to add to my bass playing in real world situations.

that little clip you did for guyatone's website couple yeras ago as an effects demo was pretty cool too.

*cough*Gigrig16*cough* :D

I'm seriously thinking of going that route myself...


JMJ, I'm glad you came back. I really dig your playing. I've got no specific questions, I'll just be lurking and learning :ninja:

In case anyone missed it the first time, go to http://www.bassplayer.tv, click on Artist Features, and then Justin Meldal-Johnsen.

The sound quality is horrid, but the whole interview is great. JMJ starts talking about effects on part 18.

JMJ - Thank you for taking the time to give us some insight into your world. I've been a huge fan of your playing for a long time, and have always used you as a prime example of why effects are not just for guitards.

A few questions...

What's your typical setup for recording (aside from effects) - DI only? DI and mic'd amp?


eshears - That's an excellent interview and gives a lot of good info on a number of topics.

JMJ - thanks for sharing with us at Talkbass. It's cool to have a pro on board, someone out there doing it. I hope that you can learn some stuff from us and in return we can learn from you.

Joe.

Justin, thanks for taking the time to talk to us; we all know you're a busy guy and we really appreciate it.:)

As far as effects and other stuff go, I had some questions....

1) Are there any specific features or attributes you look for when you're evaluating a pedal, such as digital/analog, durability, lots of tweaking options vs plug-and-play, etc?

2) How much stuff do you bring to a gig or a recording session?

3) how do you decide what you want the bass to sound like on a specific song, and how much creative freedom do you have?

4) Did the Ima Robot thing change your view of the music industry, being in a band of your own rather than a sideman?

5) How often do you branch out from the Starfire, Thunderbird, etc and go for an oddball instrument like an 8-string or the Ovation Magnum?

And last and most important,

6) What venue do you recall as having had the best backstage food?

Many thanks...

(PS-- fellow Prunes and Custard user here:hiding:)

JMJ - thanks for sharing with us at Talkbass. It's cool to have a pro on board, someone out there doing it. I hope that you can learn some stuff from us and in return we can learn from you.

Joe.

This will help raise questions such as why is there an extreme lack of blue led's on your pedalboard? :D

Do you think this lack of blue led's affects your sound in a negative way?




:hiding:

I have a question (not about conditioner - I don't want to buy conditioner anyway):

How useful do you find your Bass auto-Q? I've got one here that's about to wing it's way to eBay - I just can't seem to want to turn it on ever. Do you tend to use the THROB sound in conjunction with other stuff for noise purposes or do you actually use the auto-wah?

JMJ - thanks for sharing with us at Talkbass. It's cool to have a pro on board, someone out there doing it. I hope that you can learn some stuff from us and in return we can learn from you.

Joe.

+1. Thanks for stopping by- it's very very cool of you to give us the time.

Hallo JMJ.

Just one question here, how you like the TGD? I know you can get the screechy blippy noise but can you get like super huge industrial kind of fuzz/grind (like on the video)?


Oh...and...Steel Leather?

:ninja: :hiding:

One quick question, are you creeped out by all the ambient stuff you did on the 30 Days Of Night OST? It gives me the chills.:(:hiding:

probably one of the best threads ever. thanks, JMJ, for chiming in and helping us all out!

http://planetsmilies.net/not-tagged-smiley-13318.gif

My hair is a sentient creature that as of now I officially have no control over whatsoever.
interesting. that's exactly what's happening on top of my head, too.

Perhaps a compact unit like the Furman RV-1 would be a viable option. They're spring tanks in a 1-RU sized enclosure, so it wouldn't take up too much floor space, but still gives you the option of "crashing" the sound. They can be had pretty cheaply on eBay. While not as lush as that typical "Fender Reverb" sound (IIRC, they're 3-spring, 17" tanks), it may provide what you're looking for.

I have an RV-1 in my studio. It's rad, but not quite what I'm looking for and a tad fragile for putting on the floor. Maybe, though. I should bust it out at rehearsal and see what gives. Thanks!

I know we've just been been warned to keep it on the topic of effects but that is a really good question and I'd also like to know the answer.

To make it more effects related, do you ever find that when you're working on stuff with Beck or another artist, you accidentally go overboard with effects? Do artist's or producers ever ask you to make things a little simpler? I ask this because I feel like I'm always stuck in a struggle between trying to write interesting bass lines that will get attention, and just playing something that suits the song. Do you/did you ever struggle with this?

You know what, that is a really good question.

I totally am guilty of that. I'm always scaling back. Producers like the stuff I do, but they have to give me a reality check on occasion. Not just with effects, but with busy playing. It's a never ending life's pursuit. Simplify, find the meaningful things to put into a line that can stand the test of time. Funny, I've produced four records myself over the past three years, so I've been doing that with others, then applying it to myself as the roles are reversed.

I will say I'm getting better all the time at maximizing impact through simplicity. A very worthy challenge!

Do you still have the broom-bass from the Sexx Laws video?

I saw it at our storage spot in November! Yeah. All the Midnite Vultures props are there.

ha... that reminds me, when I was a senior in high school they had this lip-synching / miming contest. Most people performed as Backstreet Boys and stuff like that, but my gang and I did "Mixed Bizness" and I guess I played the part of Justin, but as I didn't really know much about him at the time I was just being the bass player. Although coincidentally I did have really big hair.

Anyway it was really crazy. We threw bouncy balls and McDonald's cheeseburgers out to the crowd, and I was swinging a hula hoop round the neck of my bass, and during the breakdown the stage went dark but for a spotlight on three girls dancing in the middle, during which time the rest of us removed our pants and the lights came back up on us playing in our underwear for the rest of the song, which was quite daring for high school.

So yes, good times, thanks in part to JMJ :D

I love it. Man, that is a quality moment.

hey jmj, just wanted to say i appreciate the time you spend talking to us. your playing, along with zender's playing were 99% of the exposure i had to musical bass effects, and finally, after years of just listening, i've been incorporating effects to add to my bass playing in real world situations.

that little clip you did for guyatone's website couple yeras ago as an effects demo was pretty cool too.

Dood! Sweet!

Thanks!

I'm seriously thinking of going that route myself...


JMJ, I'm glad you came back. I really dig your playing. I've got no specific questions, I'll just be lurking and learning :ninja:

Thanks....I've read posts from you on these boards in the past and learned things from you too, sir.

That's why these forums can be so useful. Everyone gets valuable insight from them.

I caught most of your interview at BassPlayer Live '06...the day after SNL...

Knowing that those weren't your effects, amp, and bass, I really appreciated your approach to making a great bass line, and effects use. Unfortunately, I had to leave early.

JMJ - Thank you for taking the time to give us some insight into your world. I've been a huge fan of your playing for a long time, and have always used you as a prime example of why effects are not just for guitards.

A few questions...

What's your typical setup for recording (aside from effects) - DI only? DI and mic'd amp?


eshears - That's an excellent interview and gives a lot of good info on a number of topics.

Pasadena in the house! My first gigging band "Last Carousel" used to play all the spots in Pasadena, and house parties all around Pasadena, South Pas, Arcadia, Eagle Rock. Awesome memories.

Thanks for complements, very much.

Di and mic'd amp, yes. Sometimes just DI (Macy, Garbage), sometimes just amp (Beck Sea Change). It changes all the time. There's no constant in this town, especially bouncing around from so many different scenarios, home studios, big studios, etc.

JMJ - thanks for sharing with us at Talkbass. It's cool to have a pro on board, someone out there doing it. I hope that you can learn some stuff from us and in return we can learn from you.

Joe.

THank you, and that's exactly why I'm here...it's not an ego stroke...it's to learn!!!!!!!

Justin, thanks for taking the time to talk to us; we all know you're a busy guy and we really appreciate it.:)

As far as effects and other stuff go, I had some questions....

1) Are there any specific features or attributes you look for when you're evaluating a pedal, such as digital/analog, durability, lots of tweaking options vs plug-and-play, etc?

No...I just want it to sound bold and unique.

2) How much stuff do you bring to a gig or a recording session?

Tons. Always. I'm retarded like that...it gets stupid. Touring it's a big ass rig and seven basses, sessions are several amps, two big boards, and a huge trunk with up to 12 basses. Stupid. It's from being indecisive.

3) how do you decide what you want the bass to sound like on a specific song, and how much creative freedom do you have?

I dunno. I just grab one, looking across them and catching a vibe. I have a good deal of creative freedom, maybe more these days than ever. Comes from being a relatively constant presence, I suppose.

4) Did the Ima Robot thing change your view of the music industry, being in a band of your own rather than a sideman?

It didn't change it, it reinforced what I already knew would happen, in my heart of hearts, when you sign to a silly major label. The second album was a disaster that I left midway through because their lame producer choice was foisted upon us with some strong-arming, and he ruined it. Speaking frankly. First album was all us...second album? Virgin felt the need to control with an iron grip. Sucked. Still love my band, though. I'll always be a part of it.


5) How often do you branch out from the Starfire, Thunderbird, etc and go for an oddball instrument like an 8-string or the Ovation Magnum?

Not often. My main basses to a record date are Starfire, P flats, P rounds, Jazz, Hofner Club, Vox Cougar, Fender Coronado, Eko, Gibson Ripper, Gibson RD Artist, Ricky 4003, T-Bird, Wal. 8-string gets used on films, Ovation Magnum was kind of a dud, I sold it. Mine, anyway.

And last and most important,

6) What venue do you recall as having had the best backstage food?

Wow. I have a POOR memory for that! Maybe some beautiful Roman ampitheater we played in the South of France in 2001...or maybe the Communist Party rally in Carpi-Modena Italy in 1996! Italian mamas cooking backstage the best food you could imagine.

Best,
JMJ


Many thanks...

(PS-- fellow Prunes and Custard user here:hiding:)

Someday I'm going to take credit for that pedal. I have serial #2, given to me by Crowther when I was in NZ in 1996. I tried to keep it a secret for so long, to no avail. All good, tho.

This will help raise questions such as why is there an extreme lack of blue led's on your pedalboard? :D

Do you think this lack of blue led's affects your sound in a negative way?




:hiding:

Yes. My sound sucks, fer shizzle.

I have a question (not about conditioner - I don't want to buy conditioner anyway):

How useful do you find your Bass auto-Q? I've got one here that's about to wing it's way to eBay - I just can't seem to want to turn it on ever. Do you tend to use the THROB sound in conjunction with other stuff for noise purposes or do you actually use the auto-wah?

I use that bad boy often, actually. It's a fun one. It's actually great as a "non-funky" modulation device, post delay, multiple distortion/fuzz stages, and with a reverb on the back end and maybe another delay. Sick.

Hallo JMJ.

Just one question here, how you like the TGD? I know you can get the screechy blippy noise but can you get like super huge industrial kind of fuzz/grind (like on the video)?


Oh...and...Steel Leather?

:ninja: :hiding:

TGD is so sweet. Yes, you can get the mega grind. INsanEE!!!!

Steel Leather? Sent to me from Suzi Matthews and sitting on my desk for evaluation. Looking forward to getting into it before the week is over.

I just found another crate of pedals that I didn't open up and photograph. Jesus. Don't tell my wife, ok?
:ninja:

One quick question, are you creeped out by all the ambient stuff you did on the 30 Days Of Night OST? It gives me the chills.:(:hiding:

That was a HARD movie to do. VERY HARD. We actually felt like we were going crazy. And I was reacting to the scenes very physically when scoring. Very similar process to when I did Devil's Rejects with Tyler Bates. He and Zombie likewise wanted the stupidest, sickest atonal grinds ever, and we got some dark dark sounds.

Watching movies like that over and over and over while scoring is psychically draining to the core.

I just found another crate of pedals that I didn't open up and photograph. Jesus. Don't tell my wife, ok?
:ninja:

You could send it here and she'll never know :ninja::hiding:





:bassist::D:bassist:

I caught most of your interview at BassPlayer Live '06...the day after SNL...

Knowing that those weren't your effects, amp, and bass, I really appreciated your approach to making a great bass line, and effects use. Unfortunately, I had to leave early.

Nice to hear, cheers.

To digress: I felt a bit awkward there. People in that room were looking at me like I should be able to throw down some serious modal slapping carnage. I have no such skills. My bass skills, technically, are average. So when I get asked to do clinics and stuff, I usually pass, because most of the people that show up to those things can melt my face off with their 8th level black belt bass "stylings" (I hate that word).

The surprising thing is, Bill Leigh and those Bass Player gents told me that my little event was a favorite...go figure!

Pasadena in the house! My first gigging band "Last Carousel" used to play all the spots in Pasadena, and house parties all around Pasadena, South Pas, Arcadia, Eagle Rock. Awesome memories.

Thanks for complements, very much.

Di and mic'd amp, yes. Sometimes just DI (Macy, Garbage), sometimes just amp (Beck Sea Change). It changes all the time. There's no constant in this town, especially bouncing around from so many different scenarios, home studios, big studios, etc.

Do you have any favorite DIs or mics, or do you leave that up to the recording engineers?

If you have the choice (maybe in your home studio), what's your favorite recording setup?

I'm happy to hear you have fond memories of Pasadena :) However, the musical places you/we remember are mostly things of the past :( This is life.

On a side note, I hope your family is well. As a father of 2 girls, I can't imagine having to leave them - and my wife - for any extended period of time like your life dictates.

Nice to hear, cheers.

To digress: I felt a bit awkward there. People in that room were looking at me like I should be able to throw down some serious modal slapping carnage. I have no such skills. In fact, my bass skills, technically, are average. So when I get asked to do clinics and stuff, I usually pass, because most of the people that show up to those things can melt my face off with their 8th level black belt bass "stylings" (read: ejaculations).

(As most of us know, you can't really get gigs with that stuff. You get gigs by hang factor, taste, tone, and time, in my not-so-humble opinion. )

The surprising thing is, Bill Leigh and those Bass Player gents told me that my little event was a favorite...go figure!

Honestly, your clinic was what I was looking for; everything else was pretty much "look what I can do that you never will"

You're more like "Here's my slightly different approach to stuff"...love it!

edit: I kept your potty mouth ;)

Do you have any favorite DIs or mics, or do you leave that up to the recording engineers?

If you have the choice (maybe in your home studio), what's your favorite recording setup?

I'm happy to hear you have fond memories of Pasadena :) However, the musical places you/we remember are mostly things of the past :( This is life.

On a side note, I hope your family is well. As a father of 2 girls, I can't imagine having to leave them - and my wife - for any extended period of time like your life dictates.

I like a Fet 47 on a B15R...that's right, the reissue. It's badass...the sound of the bass on seachange is a Starfire and an american standard Pbass for most of the record, through that amp with a Fet 47 a foot off the grill, no DI. That's my favorite.

At home I like my M-AUdio Sputnik on my '71 B-15, into a Chandler LTD-1 pre, then a Reddi DI into an API preamp and 550A EQ. Those two channels into ProTools, voila.

Family is great, thanks! I love my girls. My daughter is 3, and by the age of 2 had been to Paris for a week, London for a week, New York for a week, and San Francisco for a few days. I'm a lucky %*#&)%#@)(.

G'night everyone. It's nice getting to know you all!

Today I was in the rehearsal studio with a young band on Warner Bros. called Melee...helping them get their live show together. Nice boys. More of that tomorrow too.

Talk again soon...

JMJ

I was wondering if the 1st tour you did with Beck was after or for the Odelay release..

Oh and I really like to know what envelope filter you picked up first:D

Nice to hear, cheers.

To digress: I felt a bit awkward there. People in that room were looking at me like I should be able to throw down some serious modal slapping carnage. I have no such skills. My bass skills, technically, are average. So when I get asked to do clinics and stuff, I usually pass, because most of the people that show up to those things can melt my face off with their 8th level black belt bass "stylings" (I hate that word).

The surprising thing is, Bill Leigh and those Bass Player gents told me that my little event was a favorite...go figure!

It's been a while since I saw the video, but i remember thinking that it was nice to see somebody who wasn't just all flash doing a clinic. As for you thinking your bass skills are average, I don't buy it. Taste and groove are way batter "bass skills" than playing million mile an hour slap lines. Every time I hear you on a tune like Sexx Laws, I'm in awe, because I know I'll never be able to come up with such a creative line in my lifetime.

It's been a while since I saw the video, but i remember thinking that it was nice to see somebody who wasn't just all flash doing a clinic. As for you thinking your bass skills are average, I don't buy it. Taste and groove are way batter "bass skills" than playing million mile an hour slap lines. Every time I hear you on a tune like Sexx Laws, I'm in awe, because I know I'll never be able to come up with such a creative line in my lifetime.
+1. it was great to see a bassist speak about the art of the bass from a producer's standpoint... ie, knowing what notes to play, where on the neck to play them, the importance of a good groove, when it's cool to branch out and get crazy with different sounds, etc. i really enjoyed that vid! good stuff for those of us searching for The Pocket rather than the fastest slap lick possible. :)

you truly are an inspiration. thanks again!

Nice to hear, cheers.

To digress: I felt a bit awkward there. People in that room were looking at me like I should be able to throw down some serious modal slapping carnage. I have no such skills. My bass skills, technically, are average. So when I get asked to do clinics and stuff, I usually pass, because most of the people that show up to those things can melt my face off with their 8th level black belt bass "stylings" (I hate that word).

The surprising thing is, Bill Leigh and those Bass Player gents told me that my little event was a favorite...go figure!

Interesting - and relateable. I'm totally intimidated by people who can do the slappy-poppy thing, but when I walk away, I often wonder if they have any idea what key they're in. At the end of it all, it's about serving the music.

Hey JMJ, it's great to have a bassist of your talent and flashy dressing skills here to answer our questions. Thank you. I love the bass line you did on Debra off of Midnight Vultures. Would you mind explaining what bass/recording technique/effects you used to get that real thumpy, funky sound?

Yes. My sound sucks, fer shizzle.

:D

Oh yeah I had to turn the lights on when I put the 30 days of night OST on it sounds like a fun experience recording soundtrack stuff, I'll have to check out the devil's rejects stuff tonight.

For a reverb have you considered the TC Electronic's Nova Reverb might be a more workable solution than a Fender Tank but also Vanamps might be worth a look they do real spring reverb.

Was thinking when your working as a producer obviously your in a similar mindset as a bassist thinking about what is best for the song so how much do you push artists in breaking the boundaries like when a bass player will walk in with a jazz and just play root notes all the way through a song.

Also do you think you are guilty of favouring any one instrument while producing, just tweaking the bass so it's a bit louder here and there :D

and finally what did you do while working with Garbage did you only work on Beautiful Garbage and did you play on all the tracks etc, just struggling to find info on this album.

Cheers for the info so far I'm finding it very very interesting and can't wait to turn up to the studio for my next album with 7 basses :D

Can you run us through your Ima Robot live setup some hella good tones/sounds on that 1st album.

hey justin,

really dig all your work, and i was wondering how you generally approach 'sound design' with your basses and pedals? it seems like you have a lot of experience with analog synthesizers, and obviously pedal use and pedal order can make the bass/pedals function very much like a modular synth...

i guess i'm just curious how you got started using pedals heavily on bass, and how you conceptualize sounds.

(i'm guessing it is sometimes just stepping on something and having cool sounds, and sometimes hearing a sound in your head and logically thinking through how to achieve it? )

keep up the great playing.

cheers,
john davis

nerve/phonograph

+1. it was great to see a bassist speak about the art of the bass from a producer's standpoint... ie, knowing what notes to play, where on the neck to play them, the importance of a good groove, when it's cool to branch out and get crazy with different sounds, etc. i really enjoyed that vid! good stuff for those of us searching for The Pocket rather than the fastest slap lick possible. :)

you truly are an inspiration. thanks again!

+1. It was a very welcome change from the whole jazz fusion slapfest thing.

JMJ,

Thanks for taking the time to indulge us effects geeks.

On board 4 I saw an AdrenaLinn (I think)... how are those? It seems like it would take tons of getting used to/programming, but is it worth it?

Do you use your Deluxe Memory Man often? I've got one on my board, but I have a hell of a time not overdriving it, especially in combinations with other pedals... any solution?

Hm, one more reason to check out 30 Days of Night - I loved the graphic novel, but haven't been to a movie in ages. So many scores coming out by rockers right now. I'll probably end up seeing There Will Be Blood just for Johnny Greenwood. Anyway, this gives me hope in 'making it' as an ambient musician -- thanks JMJ. Heh, screw law school anyway.

Thanks....I've read posts from you on these boards in the past and learned things from you too, sir.

That's why these forums can be so useful. Everyone gets valuable insight from them.

anytime, glad I could help :smug:

and yeah, forums like these are such a value... I wish I had this kind of resource when I was starting out.

I'm going back to lurking while listening to "Midnite Vultures" :bassist:

Hi JMJ,
Just curious, with all the options (basses and effects) you have in your arsenal, what do you often grab when you know you're going to be playing more "straight" bass? Y'know, like on something like the Dixie Chicks, etc. Do you still bring the effects, multiple basses, amps, or do you ever just show up with a couple basses and a DI and cable and maybe a few stomps?

I was wondering if the 1st tour you did with Beck was after or for the Odelay release..

Oh and I really like to know what envelope filter you picked up first:D

I joined with Beck in April 06, as Odelay was being finished, so yeah....almost got to play on that one, wish I did!

Hey JMJ, it's great to have a bassist of your talent and flashy dressing skills here to answer our questions. Thank you. I love the bass line you did on Debra off of Midnight Vultures. Would you mind explaining what bass/recording technique/effects you used to get that real thumpy, funky sound?

Thanks, dude. Your screenname is amazing.

That bass line was a borrowed '50's Kay upright, very cardboard-y sounding. Recorded with an SM7, I think.

That was a Dust Brothers production, not sure what the recording chain was otherwise.

:D

Oh yeah I had to turn the lights on when I put the 30 days of night OST on it sounds like a fun experience recording soundtrack stuff, I'll have to check out the devil's rejects stuff tonight.

For a reverb have you considered the TC Electronic's Nova Reverb might be a more workable solution than a Fender Tank but also Vanamps might be worth a look they do real spring reverb.

Was thinking when your working as a producer obviously your in a similar mindset as a bassist thinking about what is best for the song so how much do you push artists in breaking the boundaries like when a bass player will walk in with a jazz and just play root notes all the way through a song.

Also do you think you are guilty of favouring any one instrument while producing, just tweaking the bass so it's a bit louder here and there :D

and finally what did you do while working with Garbage did you only work on Beautiful Garbage and did you play on all the tracks etc, just struggling to find info on this album.

Cheers for the info so far I'm finding it very very interesting and can't wait to turn up to the studio for my next album with 7 basses :D

Devil's Rejects was pretty sketchy too....lots of taiko drums, bowed cymbals (like 30 days), and my usual shizz. I remember being totally head-down sitting on the floor getting a stupidly evil sound out in the tracking room at Conway and Rob Zombie standing right over me with a huge grin. Talk about job satisfaction.

Tried the Nova, not springy enough, returned it. At least the Holy Grail gets a little closer to that vibe. I'll checkout the Sole-Mate! That looks waaaay closer to the vibe, thank you.

I do like to push boundaries, but I haven't found myself in a production scenario that I could do that, except maybe for the new Ken Andrews solo album. (www.kenandrews.com). Got the bass to do some fun stuff, but also went wild with guitar sounds, did some neat techniques. Like three guys playing the same thing at the same time, like a small chamber orchestra (the song "Allergic), to get that Cocteau Twin's sort of sound, but with a live approach. Lots of super far-away mic'ing, keyboards through lots of pedals then amped. Nothing innovative, ultimately. Just fun. As I'm getting started in that line of work, I'm really trying to make cool sounding, contiguous "albums", in the old school way. I think the innovative thing will come to the fore when there is the time and inclination to do that with all parties.

With Garbage, I did the whole album, yes. And I played on about ten or eleven songs. The rest were done by Duke or Steve, the guitarists.

Can you run us through your Ima Robot live setup some hella good tones/sounds on that 1st album.

Thanks! One of my favorites. Studio: T-Bird through B-15R, Marshall JTM-45 with Tube Screamer always on into Fender ToneMaster cab, and Evil Twin DI.

Live, photo attached. T-Bird and Ripper through pedalboard into Radial DI into two SVT 4 Pros, both bridged, one driving SVT410-HLF, one driving 810AV.

hey justin,

really dig all your work, and i was wondering how you generally approach 'sound design' with your basses and pedals? it seems like you have a lot of experience with analog synthesizers, and obviously pedal use and pedal order can make the bass/pedals function very much like a modular synth...

i guess i'm just curious how you got started using pedals heavily on bass, and how you conceptualize sounds.

(i'm guessing it is sometimes just stepping on something and having cool sounds, and sometimes hearing a sound in your head and logically thinking through how to achieve it? )

keep up the great playing.

cheers,
john davis

nerve/phonograph

Hi John! I don't have an approach for sound design, really. I don't have a real method, I just like to experiment with combinations of effects with synths and bass. Midnite Vultures is a tour-de-force of Roger Manning, Beck, myself, Tony HOffer and Mickey Petralia spending half a year exploring that world. I started out by being an Anglophile, and wondering how to get sounds on Joy Division, New Order, Wire, Cocteau Twins, Chameleons UK, Love & Rockets, and My Bloody Valentine records, but do them on bass.

I dunno...I just dive in, it's not a particularly analytical process.

JMJ,

Thanks for taking the time to indulge us effects geeks.

On board 4 I saw an AdrenaLinn (I think)... how are those? It seems like it would take tons of getting used to/programming, but is it worth it?

Do you use your Deluxe Memory Man often? I've got one on my board, but I have a hell of a time not overdriving it, especially in combinations with other pedals... any solution?

Hm, one more reason to check out 30 Days of Night - I loved the graphic novel, but haven't been to a movie in ages. So many scores coming out by rockers right now. I'll probably end up seeing There Will Be Blood just for Johnny Greenwood. Anyway, this gives me hope in 'making it' as an ambient musician -- thanks JMJ. Heh, screw law school anyway.

AdrenaLinn is fun, presets are bad, but it is DEEEEP. I use the internal drum machine to trigger fuzz gates opening and stuff like that. Memory Man distorts big time. Tough one, can't get around it. I used it a lot on tour with Air, but it was not a clean thing most of the time.

Thanks! One of my favorites. Studio: T-Bird through B-15R, Marshall JTM-45 with Tube Screamer always on into Fender ToneMaster cab, and Evil Twin DI.

Live, photo attached. T-Bird and Ripper through pedalboard into Radial DI into two SVT 4 Pros, both bridged, one driving SVT410-HLF, one driving 810AV.

Just to clarify which pedalboard :p

AdrenaLinn is fun, presets are bad, but it is DEEEEP. I use the internal drum machine to trigger fuzz gates opening and stuff like that. Memory Man distorts big time. Tough one, can't get around it. I used it a lot on tour with Air, but it was not a clean thing most of the time.

Another recommendation then either the Diamond Memory Lane or the Subdecay Echo Box (When it's released) they'll take everything you can throw at them :p

Hi JMJ,
Just curious, with all the options (basses and effects) you have in your arsenal, what do you often grab when you know you're going to be playing more "straight" bass? Y'know, like on something like the Dixie Chicks, etc. Do you still bring the effects, multiple basses, amps, or do you ever just show up with a couple basses and a DI and cable and maybe a few stomps?

I grab a p, a j, and a hollowbody (Starfire, probably). Maybe an octave pedal and a Sans GT2 or ParaDriver DI. That's about it. When I did that 5-night stand in November with the Chicks here in LA, it was P, Starfire, Mesa rig, and a Boss Tuner. :-) Photo attached, with my tech Donny. :-)

I grab a p, a j, and a hollowbody (Starfire, probably). Maybe an octave pedal and a Sans GT2 or ParaDriver DI. That's about it. When I did that 5-night stand in November with the Chicks here in LA, it was P, Starfire, Mesa rig, and a Boss Tuner. :-) Photo attached, with my tech Donny. :-)

Is he hiding from you because you've just asked him to rewire all your boards and run them on batteries that need changing every night ala fruciante :ninja: :bassist:

I grab a p, a j, and a hollowbody (Starfire, probably). Maybe an octave pedal and a Sans GT2 or ParaDriver DI. That's about it. When I did that 5-night stand in November with the Chicks here in LA, it was P, Starfire, Mesa rig, and a Boss Tuner. :-) Photo attached, with my tech Donny. :-)

Thanks! Now that is a tasty set-up. Tasty playing on the Chicks album too!

Best thread yet!!
Thanks JMJ, You're one of my favorite players!

any advice for us youngsters about "making it" as a bass player/musician?

Thank You for doing this!

I wish I could start a poll in here: "Since this thread started, have you busted out/borrowed/bought/"legally" downloaded a copy of 'Midnite Vultures?'" :p

I certainly have :)

This is such a fantastic thread. Thank you for returning to it Justin.
I was wondering... If, for your own project, you were to ever have to narrow down your pedal selection to say3 or 4 - ...what would you keep?
Is there anything we might be missing out on over here that you would absolutley recommend for certain situations? Thanks, Tom.

PS- that line on sexxlaws is killer- So busy and still perfect for the song!

Having relistend to Beautiful Garbage last night I have to know what fuzz is being used on Till the day that I die. It's awesome

AWESOME I TELL YA :hiding:

awesome ... cool to hear your approach. wicked sounds.

cheers,
john

I noticed among the multiple delays, an Ibanez modulation delay, how well does it work with the bass? Have you had the chance to try the Jacques version?

I also noticed there are no E-13/Devi ever pedals, seems they would be right in line with what you’re doing.

Thank you again for sharing.

MM

I joined with Beck in April 06, as Odelay was being finished, so yeah....almost got to play on that one, wish I did!
I saw you with Beck touring Odelay at T in the Park in summer 2006, still ranks as one of the best shows I've ever seen!

I saw you with Beck touring Odelay at T in the Park in summer 1996, still ranks as one of the best shows I've ever seen!
If this was the one with the puppets dancing then I saw that on TV it was a great show!

I believe that would have been touring for 'The Information'

Come back to Oregon my brotha'. The beautiful Pacific Northwest is calling out to you.
Nice website, by the way.

Thanks for spending some of your time here on TB. Your honest input is really appreciated.

Oh, man I loved the score of 30 Days of Night! I hate to admit that I honestly didn't know who you were before this thread... I'm not a big effects guy... but it is unbelievable that the score of that movie is mostly bass and cello. Be proud.

Thanks for the information and thank you for helping out all of the hopeful players here. :)

If this was the one with the puppets dancing then I saw that on TV it was a great show!
I think I'm thinking about V festival 2006. Still a great show! :p

I saw you with Beck touring Odelay at T in the Park in summer 2006, still ranks as one of the best shows I've ever seen!

Would that be 1996 not 2006?

Would that be 1996 not 2006?
yes it would, my brain is failing me in old age

Gee, what do you guys do with all that stuff? In particular setup #3 makes me wonder, looks like a keyboard player rig from the 70's..

:P

D.Don

Is he hiding from you because you've just asked him to rewire all your boards and run them on batteries that need changing every night ala fruciante :ninja: :bassist:

THAT would be an interesting thing to ask for...especially a sideman bass player. He'd probably throw his maglite at me!

Best thread yet!!
Thanks JMJ, You're one of my favorite players!

CHeeeeeers!!!!!!!!!!!

Awesome. :hyper:

any advice for us youngsters about "making it" as a bass player/musician?

Thank You for doing this!

The usual...stay true to yourself, experiment, play WITH other musicians as much as possible and be careful of too much time in practice, go to lots of gigs, buy lots of vinyl and become a musicologist, getting your head into every nook and cranny of popular music in the last half of the 20th century!

This is such a fantastic thread. Thank you for returning to it Justin.
I was wondering... If, for your own project, you were to ever have to narrow down your pedal selection to say3 or 4 - ...what would you keep?
Is there anything we might be missing out on over here that you would absolutley recommend for certain situations? Thanks, Tom.

PS- that line on sexxlaws is killer- So busy and still perfect for the song!

Thanks - I love that bassline, it's fun. Three or four? I'd have to say six: Sans GT2, Boss OC-2, Bass Auto Q, Guyatone MD2, and MXR EVH phaser or Guyatone Phaser, and Wooly Mammoth. If I had to say three, I'd lose the phaser, delay and mammoth.

I don't know what I'm missing....good to have a clear, fat sounding DI of your own, and definitely something like a Sans Amp Paradriver DI is handy for so many scenarios.

Having relistend to Beautiful Garbage last night I have to know what fuzz is being used on Till the day that I die. It's awesome

AWESOME I TELL YA :hiding:

Dood! I f*#%@d up. I didn't play on that record, I played on their last record, "Bleed LIke Me". Ouch, my bad.

Dood! I f*#%@d up. I didn't play on that record, I played on their last record, "Bleed LIke Me". Ouch, my bad.

Damn I need to go buy another cd of yours :p

I noticed among the multiple delays, an Ibanez modulation delay, how well does it work with the bass? Have you had the chance to try the Jacques version?

I also noticed there are no E-13/Devi ever pedals, seems they would be right in line with what you’re doing.

Thank you again for sharing.

MM

The Ibanez works like S*$t for bass, but I love it!!! It sounds crappy, but gets nutty. That Jacques pedal looks amazing, but I don't think it does the Ibanez insane thing.

I've been down the E-13/Devi Ever road, and will probably buy some at some point. I tried them all, and none of them really blew my wig off. I have other combos of pedals that seem to do similar things. They just seem to be different varieties of nasty gated fuzz and oscillation. I might be totally off-base, dunno.

I saw you with Beck touring Odelay at T in the Park in summer 2006, still ranks as one of the best shows I've ever seen!

'96? Yeah, that was so awesome!! I love T in the Park. Gotta get back there, might happen this summer, dunno. That's the first time we saw Prodigy. We were scared in the best way.

I think I'm thinking about V festival 2006. Still a great show! :p

That was maybe our best show of THe Information tour. Radiohead was unreal, weren't they? Best I've ever seen THEM.

Gee, what do you guys do with all that stuff? In particular setup #3 makes me wonder, looks like a keyboard player rig from the 70's..

:P

D.Don

Now you understand!! Frankly, I'd rather not play bass...I'd rather turn knobs! That's why I'm so jealous of Daft Punk. They get to rock from inside a pyramid, turn knobs and wear space suits!!!!!!!!!!!!!

Now you understand!! Frankly, I'd rather not play bass...I'd rather turn knobs! That's why I'm so jealous of Daft Punk. They get to rock from inside a pyramid, turn knobs and wear space suits!!!!!!!!!!!!!

We know you sit at home in a space suit watching tv :D

Hey!
Most of my questions have already been answered, but I wanted to chime in and say thank you for jut being a positive guy altogether!
I am an effects enthusiast and all, got my bunch of stomps and all that, but what I'm most happy about with this thread and the interviews Ive seen with you is the way you approach music making and the whole process of being a bassplayer!
Its nice to see someone have some integrity and a very cool altogether vibe and approach to playing!the way it should be!:D

best wihes to you and your family, man!:D

Hey!
Most of my questions have already been answered, but I wanted to chime in and say thank you for jut being a positive guy altogether!
I am an effects enthusiast and all, got my bunch of stomps and all that, but what I'm most happy about with this thread and the interviews Ive seen with you is the way you approach music making and the whole process of being a bassplayer!
Its nice to see someone have some integrity and a very cool altogether vibe and approach to playing!the way it should be!:D

best wihes to you and your family, man!:D

I agree it still blows my mind that you come on here and answer all these questions. Mad respect man.

I agree it still blows my mind that you come on here and answer all these questions. Mad respect man.
+10000

Thanks JMJ (if I haven't said it already) :p.

Shucks...thanks y'all.

But in all seriousness: I put my pants on just like the rest of you...one leg at a time...except, when my pants are on, I make gold records.

:hiding:

Just curious if you have used any Pigtronix effects, specifically the envelope phaser? Love your stuff!

Where is the cowbell simulator pedal

Where is the cowbell simulator pedal

Boss Dr. Pad?

See you guys later, I'm off to work...

JMJ

You've missed my joke on your joke there :D

It's cool to see someone who has a similar approach to bass playing as I do and makes it big. Most people are like "Dude, you're not playing basslines! You're weird!".

I love what you did on 10 000 Hz Legend, cheers!

You've missed my joke on your joke there :D

Oh no, I got it. You missed my trying to give you a straight answer, itself a joke, to your joke on my joke.

Wait, I'm lost.

Oh no, I got it. You missed my trying to give you a straight answer, itself a joke, to your joke on my joke.

Wait, I'm lost.

:eyebrow:

Boss Dr. Pad?

See you guys later, I'm off to work...

JMJ

Yeah Boss DR Pad III

http://www.keyboardmuseum.com/d_machines/drpad3.html
Just so everyone can sample the greatness

Do you actually use The POG in that setting ?

Tried it on mine and thats pretty extreme :smug:

I tried them all, and none of them really blew my wig off.

So it ISN'T your real hair!! :hiding:











:D

Shucks...thanks y'all.

But in all seriousness: I put my pants on just like the rest of you...one leg at a time...except, when my pants are on, I make gold records.

:hiding:
Justin, I used to like you until you said that. Now I flat out love you! If I were making gold records, I'd be saying the same thing, only I'd have added a picture of me rolling around on the floor in my money. Enjoy it, bro...unlike most people in the business who bought their way in, you got in because of talent. At least I'd like to think you did...who the hell knows the back story? ;)

If more people like you ran the business instead of these idiot rich boy lawyers who think they're geniuses, the music business would be much better for it.

Shucks...thanks y'all.

But in all seriousness: I put my pants on just like the rest of you...one leg at a time...except, when my pants are on, I make gold records.

:hiding:


So that's my problem...maybe I need to start playing with my pants on?

Shucks...thanks y'all.

But in all seriousness: I put my pants on just like the rest of you...one leg at a time...except, when my pants are on, I make gold records.

:hiding:

Pants??!!

(EricF grabs keys and wallet, jumps in his car, heads out to buy some pants, and screams, "Yeah, baby. I'm goin' pro!")

hi justin, first thanks for coming on to answer all our little nerdy questions. second, i love your playing man. "paper tiger" on sea change is one of my favorite bass lines ever. i do have a question though. on this forum particularly, and in the bass world in general i'll usually see a compressor somewhere in some player's setup. they'll have either a pedal or a rack unit, but i didn't see one anywhere in your setup. do you even bother with one considering the amount of effects in your signal already? or because the sound guy/engineer adds compression later anyway? or am i so blind i just totally missed a compressor in those pictures from page 1?

You don't need to answer this if you don't want to but just curious...What's the most expensive pedal you've ever bought?

I have a question... Who is JMJ and why is he an expert on pedals?

Go listen to Beck post Odelay.

I have a question... Who is JMJ and why is he an expert on pedals?


http://en.wikipedia.org/wiki/Justin_meldal-johnsen

I see. Thanks.

Never was a fan though.

I grab a p, a j, and a hollowbody (Starfire, probably). Maybe an octave pedal and a Sans GT2 or ParaDriver DI. That's about it. When I did that 5-night stand in November with the Chicks here in LA, it was P, Starfire, Mesa rig, and a Boss Tuner. :-) Photo attached, with my tech Donny. :-)

Justin,

You are not helping with rig pics like that - by reigniting the burning sensation I feel to throw a Darkstar into my P bass. Of course it ain't no hollowbody.

Actually -come to think of it - that's a good question. In your experience, and knowing that you totally dig hollowbodies. have you tried a "darkstarred Precision" and if so - how does it rank next to your stock Ps and Starfire?

I see. Thanks.

Never was a fan though.

Me neither.

hi justin, first thanks for coming on to answer all our little nerdy questions. second, i love your playing man. "paper tiger" on sea change is one of my favorite bass lines ever. i do have a question though. on this forum particularly, and in the bass world in general i'll usually see a compressor somewhere in some player's setup. they'll have either a pedal or a rack unit, but i didn't see one anywhere in your setup. do you even bother with one considering the amount of effects in your signal already? or because the sound guy/engineer adds compression later anyway? or am i so blind i just totally missed a compressor in those pictures from page 1?

Thanks on Paper Tiger, that was a fun track...real musicians doing live interaction, two or three takes, move on to the next song.

I don't really like compression from my side. It's too "limiting", hehe. I just find that everytime I try it, I lose some of the pedal explosiveness. But at front of house, or with engineers, they can do whatever they like, as long as I don't hear it later all squashed...then we have a talk.

JMJ

You don't need to answer this if you don't want to but just curious...What's the most expensive pedal you've ever bought?

Hmmm, maybe an Adrenalinn or a Moogerfooger? I haven't gotten into the real $300 + land of pedals. I do want a Black Box Quicksilver, though.

Justin,

You are not helping with rig pics like that - by reigniting the burning sensation I feel to throw a Darkstar into my P bass. Of course it ain't no hollowbody.

Actually -come to think of it - that's a good question. In your experience, and knowing that you totally dig hollowbodies. have you tried a "darkstarred Precision" and if so - how does it rank next to your stock Ps and Starfire?

Darkstars are sweet...they sound amazing in my Lakland Decade, but kind of average in a mid-90's Starfire reissue (a maple one) that I just never liked the sound of as much as my other Starfires anyway. A Darkstarred P might be awesome, but I think I'd like to hear it right up on the neck without removing the stock pickup!

Man I didn't realise you played with Turing Brakes as well that's the only album of theirs I have Ether Song, can I ask what you setup for that album was?

Also what tracks did you play with The Mars Volta and what was that like being in a very heavy effect enviroment?

Thanks

Man I didn't realise you played with Turing Brakes as well that's the only album of theirs I have Ether Song, can I ask what you setup for that album was?

Also what tracks did you play with The Mars Volta and what was that like being in a very heavy effect enviroment?

Thanks

Ether song was Starfire, P-Bass and Wal Mark I Shedua into main recording pedalboard, into Mesa Walkabout Scout head & 1x12 cab. I had a great time recording that record, it was one of those quick & dirty "do it in a week" scenarios that I love.

Mars Volta was just me on upright for one song Televators, and some other track that hasn't been released to my knowledge. Great guys - such telepathic musicians. A little daunting, in fact, because though I play a lot of upright (more and more all the time, it seems), I have no technique except what I bring from electric, so I worry a lot about pitch and tone and get tired after a few hours and have to take a break.

JMJ

I have a question... Who is JMJ and why is he an expert on pedals?

Exactly. I think he's pretty whatever...he doesn't play any metal or anything heavy!* I hear he played with the Dixie Chicks even...WEAK!!!







* Except during every soundcheck. :D

Clearly I need a hollowbody bass :D

I'm interested as to how you incorporate so many eq's in you signal chain like beck for example there is the M-80 being used a di I presume that has some eq on it? and then you have 2 pre's the ampeg and the sansamp and those go into the mesa (I presume the input on it) do you leave any of them flat? or do you have some sort of technique when eq'ing that many times with out it getting overly muddy.

Do you have a preference to any particular freq or do you just tweak till it sounds good.

Cheers

Justin, if it's OK to turn attention away from effects for just a second, I'd like to know how you made the transition from sideman to MD and bandleader in a lot of your projects. It's been my experience that if people never see you in the role, they think you're incapable of doing it without even inquiring if you can, so I'm curious as to what you think you did that set you apart. In my world (oldies gigs with the original artists), MD means a significant increase in pay like almost double, so I'm trying to land more MD work.

Also, what kind of bandleader are you? I've been trying to picture what kind of bandleader you are since you got the MD gig with Beck, and I can't figure you out. Are you an experimental lassiez-faire type, or a stickler for every note being in place and handing out fines for people who show up late and don't play what you want?

Exactly. I think he's pretty whatever...he doesn't play any metal or anything heavy!* I hear he played with the Dixie Chicks even...WEAK!!!

* Except during every soundcheck. :D
At least he has a cool wig ;)

Awesome thread, thanks a lot for doing this, Justin. :D

I have a weird question: if you ever decided to join a metal band with guitars downtuned to A or something, what bass/pedals would you use? I don't think I've ever seen you with a five string!

Awesome thread, thanks a lot for doing this, Justin. :D

I have a weird question: if you ever decided to join a metal band with guitars downtuned to A or something, what bass/pedals would you use? I don't think I've ever seen you with a five string!


You're asking a hypothetical that would never happen. ;) But I think I'd probably rock the same live bass rig I have now (two 810's with a sub), Mesa Titan and/or Ampeg SVP-CL power amps and bust out my only 5 string. I've got a Fender Jazz Deluxe 5, my only 5 string. Only have it when clients request a 5. Pedals? Maybe a wah, a whammy, and a Sans Amp - that's about all you need! But I'd want something more evil looking if I was going to do legit metal in front of people! Everyone's got a metal fantasy buried somewhere in their consciousness, let's face it.

JMJ

Heya Justin,
I've got a question for ya: what is your DI of choice these days? I recently acquired a REDDI which I believe you use as well. Makes everything I run through it (even a Wurly!) sound better. Is that your numero uno DI, or something else?

Cheers

Clearly I need a hollowbody bass :D

I'm interested as to how you incorporate so many eq's in you signal chain like beck for example there is the M-80 being used a di I presume that has some eq on it? and then you have 2 pre's the ampeg and the sansamp and those go into the mesa (I presume the input on it) do you leave any of them flat? or do you have some sort of technique when eq'ing that many times with out it getting overly muddy.

Do you have a preference to any particular freq or do you just tweak till it sounds good.

Cheers

I make a living with hollowbody basses, for sure. I don't eQ the M-80's and the amps are close to flat. Especially the Mesa - that thing doesn't need eq. Kind of like an Aguilar DB750 - they sound good straight up. Ampeg rig needs bottom added. No technique, I'm just like anyone, tweak until correct, very much room dependent.

You're asking a hypothetical that would never happen. ;) But I think I'd probably rock the same live bass rig I have now (two 810's with a sub), Mesa Titan and/or Ampeg SVP-CL power amps and bust out my only 5 string. I've got a Fender Jazz Deluxe 5, my only 5 string. Only have it when clients request a 5. Pedals? Maybe a wah, a whammy, and a Sans Amp - that's about all you need! But I'd want something more evil looking if I was going to do legit metal in front of people! Everyone's got a metal fantasy buried somewhere in their consciousness, let's face it.

JMJ

Man you forgot Pyro it's ain't metal unless its blowing up

Heya Justin,
I've got a question for ya: what is your DI of choice these days? I recently acquired a REDDI which I believe you use as well. Makes everything I run through it (even a Wurly!) sound better. Is that your numero uno DI, or something else?

Cheers

I like, in order of preference:

1) Reddi...that's at home, and I bring it to important sessions. A hugely fat, natural sound. So different than the typical DI.
2) Radial JDI...in my gear trunk, is brought to all sessions, I use it as needed to replace marginal studio DI's.
3) MXR M-80 - surpisingly good, use them live.
4) AMpeg SVT DI, also good, use it at home for another flavor

Best,
JMJ

I Love this place, always something to learn! Thanks JMJ for joining us on this beautiful sunday.

Justin, if it's OK to turn attention away from effects for just a second, I'd like to know how you made the transition from sideman to MD and bandleader in a lot of your projects. It's been my experience that if people never see you in the role, they think you're incapable of doing it without even inquiring if you can, so I'm curious as to what you think you did that set you apart. In my world (oldies gigs with the original artists), MD means a significant increase in pay like almost double, so I'm trying to land more MD work.

Also, what kind of bandleader are you? I've been trying to picture what kind of bandleader you are since you got the MD gig with Beck, and I can't figure you out. Are you an experimental lassiez-faire type, or a stickler for every note being in place and handing out fines for people who show up late and don't play what you want?

This is the best question yet. I really appreciate you bringing this up, because I think it's an important area, and probably worth its own thread (by the way, Paul and the TalkBass.com guys are looking to give me a forum in that "ask a pro" area...this would be a great area to go over in detail there, so I'll be brief here and we'll re-address:

I made the transition to MD in a de facto way; with Beck, there were originally only five of us but that eventually became twelve. Someone had to step up over time (I started around '98), and I was very much into it. Plus I'm musically savvy enough, have a strong personal relationship with Beck, and am really good at (this is very important) having a personal relationship with all the crew guys, down to the lighting assistant, carpenter, rigger, crew bus driver #3, whatever. The other thing needed was a lot of technological savvy, in terms of organizing programming, samples, the occasional backing track, triggers, delegating multi-tasking roles, etc. So it became me. Then over time, other people started having me do it (Air, Gnarls Barkley) and then other bands I don't even play in (Sea Wolf, Melee)...with young band Melee on Warner Bros, I'm rehearsing background vocals, sorting out gear, giving them show pointers, the whole deal. So there you go. I jumped in and learned.

This is something I'd like to see more bass players do, because by and large they have the simplest job on stage and can devote some extra attention to everything else going on around them.

So we should spend some time on this in another thread later, and other MD's on these boards can chime in too.

What kind of bandleader am I? A laissez-faire experimental laid back guy 50% of the time and a stickler and "don't ever be late again" guy the other 50%. It's simply situation dependent. All the players have their act together even before their hired, so the "don't ever be late again" happens once in a blue moon. It's just more about creativity and using our soundchecks to refine, reduce, expand, etc. Overall, I'm a fun-loving sort of MD, though. People have a pretty good time working with me, so I hear.

JMJ

What sort of practicing do you do? How much of it is chops, noise, generally effect sounds and songs for the artist you are working with currently.

Do you use any drum machines as aids while practicing?

Thanks

Me neither.

If you never were a fan, what kind of music do you like to play? Unless of course you were joking, in which case... funny.

To be honest, I have never heard your music at all. But, a huge amount of respect goes to you for making it. Good job. I can only strive to go as far as you.

What sort of practicing do you do? How much of it is chops, noise, generally effect sounds and songs for the artist you are working with currently.

Do you use any drum machines as aids while practicing?

Thanks

I don't practice much at all. I should. There's things of late that I've been making note of that I really need to improve. I try to just use a metronome, (which I turn on and off so that I can check how I'm doing) because the more I rely on a beat, the less I am able to assert and internalize the time myself.

I like, in order of preference:

1) Reddi...that's at home, and I bring it to important sessions. A hugely fat, natural sound. So different than the typical DI.
2) Radial JDI...in my gear trunk, is brought to all sessions, I use it as needed to replace marginal studio DI's.
3) MXR M-80 - surpisingly good, use them live.
4) AMpeg SVT DI, also good, use it at home for another flavor

Best,
JMJ

Thanks for the info! Yeah, the REDDI certainly lives up to the hype. I too use a JDI alternately, and take it to gigs. (But I'm tempted to schlepp the REDDI out live sometime just for that big blue light:)

I've got a Fender Jazz Deluxe 5, my only 5 string.

Thanks for the reply! Wow, looks like his best-keept secret is out! :eek:

Do you use drop D tuning a lot on your four strings, by the way? I'm guessing you probably do when you play "Loser" live with Beck.

Thanks for the reply! Wow, looks like his best-keept secret is out! :eek:

Do you use drop D tuning a lot on your four strings, by the way? I'm guessing you probably do when you play "Loser" live with Beck.

Yeah, I just drop it down to D on a few songs. My T-bird and a jazz bass have hipshots.

I've also got a P-Bass I want to string with .130 to whatever and tune down to A, just to have. The other thing I like to do (which I stole from a brilliant bassist years ago from the band Laika) is to tune the bass way down then capo up on the 5th or 7th fret. Try it - the tone is really deep.

Allright y'all. Off for a day with my girls, talk soon!

JMJ

In regards to being the MD with Beck and I presume getting use to getting things done a certain way how did that change when you joined Ima Robot, I find in my band I have the role of MD but you don't really have those in a band if you get me it seems more for when you have a collective of session/sidemen/women.

But this is fascinating info don't worry if the thread goes off topic :p from effects

Allright y'all. Off for a day with my girls, talk soon!

JMJ

Since you've given us so much advice here is some of mine avoid all shoe shops at all costs :D

have a great day

This is the best question yet. I really appreciate you bringing this up, because I think it's an important area, and probably worth its own thread (by the way, Paul and the TalkBass.com guys are looking to give me a forum in that "ask a pro" area...this would be a great area to go over in detail there, so I'll be brief here and we'll re-address:

I made the transition to MD in a de facto way; with Beck, there were originally only five of us but that eventually became twelve. Someone had to step up over time (I started around '98), and I was very much into it. Plus I'm musically savvy enough, have a strong personal relationship with Beck, and am really good at (this is very important) having a personal relationship with all the crew guys, down to the lighting assistant, carpenter, rigger, crew bus driver #3, whatever. The other thing needed was a lot of technological savvy, in terms of organizing programming, samples, the occasional backing track, triggers, delegating multi-tasking roles, etc. So it became me. Then over time, other people started having me do it (Air, Gnarls Barkley) and then other bands I don't even play in (Sea Wolf, Melee)...with young band Melee on Warner Bros, I'm rehearsing background vocals, sorting out gear, giving them show pointers, the whole deal. So there you go. I jumped in and learned.

This is something I'd like to see more bass players do, because by and large they have the simplest job on stage and can devote some extra attention to everything else going on around them.

So we should spend some time on this in another thread later, and other MD's on these boards can chime in too.

What kind of bandleader am I? A laissez-faire experimental laid back guy 50% of the time and a stickler and "don't ever be late again" guy the other 50%. It's simply situation dependent. All the players have their act together even before their hired, so the "don't ever be late again" happens once in a blue moon. It's just more about creativity and using our soundchecks to refine, reduce, expand, etc. Overall, I'm a fun-loving sort of MD, though. People have a pretty good time working with me, so I hear.

JMJ
Glad to hear you're getting an Ask a Pro forum. Effects are fun and I like to use them sometimes, but I'm more interested in what you play and how you managed to distinguish yourself from the pack. I'll wait till you get your forum for more in depth chat about it. Thanks for the reply.

People have a pretty good time working with me, so I hear. JMJ

FWIW, I work in LA, and, though I'm quite below the radar, I have on occasion worked with some folks who have worked with Mr. MJ, and this is an understatement for the ages. This cat deserves every lick of all the awesome work on his plate and should be a roll model for young musicians, beyond just chops. This whole thread is evidence of that as well. It goes way beyond just playing great and being a "good hang". Serious positive energy.

This is something I'd like to see more bass players do, because by and large they have the simplest job on stage and can devote some extra attention to everything else going on around them.

JMJ

This is not directed towards Justin. I have never heard anything by Beck and have no idea what kind of bass player he is.

This statement I believe depends on what kind of bass player you are. Are you a Bobby Dall or Nikki Sixx? If so, then yeah, you may have the simplest job on the stage. On the other hand, are you a Steve Harris or Victor Wooten? Then no... there's nothing simple about that.

Add this to the "Things you hate to hear other bass players say" thread.

Justin, I mean no offense to you. I just think a blanket statement like this doesnt apply to all bass players.

truth, but, by and large, most bassists aren't, nor should they try to be, victor wootens or (insert chops monster soloist here)... there is very little music out there that call for that sort of playing, and i think that bassist, by the nature of our role in music, are naturally predisposed to roles that involve making music work, acting as the 'middle man' between the drums and the front line.

no matter the music, the bass player is usually the one paying more attention to everything going on onstage... so i think it is natural for bassists to have MD jobs. i know quite a few bassist/MDs...

but yeah, lets not derail the thread.... point/counterpoint... :)

my only argument is that a bassist should never be too caught up in their own playing to be able to be aware of what is going on with the other instruments... i know almost all the guitar parts and vocals/lyrics for my band, and i can play almost all the drum parts (with a moderate degree of ability), and i feel like i HAVE to be able to do that in order to really play bass well... the same even goes for more difficult music, like the drum'n'bass stuff i play with jojo. i can play (poorly) most of the drum grooves, and know the melodies....

i'd bet that knowing the whole song inside out goes along with justin's job, and that is why he has gotten to such a great position in the 'industry'... being an MD/bassist give you a more holistic view of the music.

cheers,
john

truth, but, by and large, most bassists aren't, nor should they try to be, victor wootens...

Agreed! I agree with everything you said. Most bassists dont need to be Harris's or Wooten's.

Very good post John!

This is not directed towards Justin. I have never heard anything by Beck and have no idea what kind of bass player he is.

This statement I believe depends on what kind of bass player you are. Are you a Bobby Dall or Nikki Sixx? If so, then yeah, you may have the simplest job on the stage. On the other hand, are you a Steve Harris or Victor Wooten? Then no... there's nothing simple about that.

Add this to the "Things you hate to hear other bass players say" thread.

Justin, I mean no offense to you. I just think a blanket statement like this doesnt apply to all bass players.

He said "by and large". sure there are exceptions to his statement, but his point wasn't that all bassists do this, just a lot of them.

but yes. Back to the topic :)

This is not directed towards Justin. I have never heard anything by Beck and have no idea what kind of bass player he is.

This statement I believe depends on what kind of bass player you are. Are you a Bobby Dall or Nikki Sixx? If so, then yeah, you may have the simplest job on the stage. On the other hand, are you a Steve Harris or Victor Wooten? Then no... there's nothing simple about that.

Add this to the "Things you hate to hear other bass players say" thread.

Justin, I mean no offense to you. I just think a blanket statement like this doesnt apply to all bass players.

I feel you...great point!

My job with Beck isn't that simple, bass-wise. I'm playing sometimes elaborate stuff, switching styles, basses, effects, singing, playing synth, etc. It's a big job. BUT: something about bass players - I don't know, it just seems that they have this capability of being above it all...they bridge the gap between so many instruments.

But your point is certainly well taken.

JMJ

truth, but, by and large, most bassists aren't, nor should they try to be, victor wootens or (insert chops monster soloist here)... there is very little music out there that call for that sort of playing, and i think that bassist, by the nature of our role in music, are naturally predisposed to roles that involve making music work, acting as the 'middle man' between the drums and the front line.

no matter the music, the bass player is usually the one paying more attention to everything going on onstage... so i think it is natural for bassists to have MD jobs. i know quite a few bassist/MDs...

but yeah, lets not derail the thread.... point/counterpoint... :)

my only argument is that a bassist should never be too caught up in their own playing to be able to be aware of what is going on with the other instruments... i know almost all the guitar parts and vocals/lyrics for my band, and i can play almost all the drum parts (with a moderate degree of ability), and i feel like i HAVE to be able to do that in order to really play bass well... the same even goes for more difficult music, like the drum'n'bass stuff i play with jojo. i can play (poorly) most of the drum grooves, and know the melodies....

i'd bet that knowing the whole song inside out goes along with justin's job, and that is why he has gotten to such a great position in the 'industry'... being an MD/bassist give you a more holistic view of the music.

cheers,
john

Also, very well said....that's kind of what I'm getting at too.

Hey everybody, I really want to thank you all for your kind and encouraging words. Makes me feel some degree of vindication, and that my ambitions are quite possibly very similar to those of many of you.

Props much appreciated, really.

JMJ

thanks dude.

it's cool to get some insight into how you approach one of the coolest gigs around, and especially great to hear from another bassist with a production/md/'whole music' philosophy rocking it so hard.

cheers,
john

oh

btw

what is 'MD'?

Musical director.

oh, cool

mad props

something about bass players - I don't know, it just seems that they have this capability of being above it all...they bridge the gap between so many instruments.

Which is why we can make such good producers.

I recall an interview with Sting from a ways back that I really enjoyed, saying what he liked about playing bass was the "subversive" aspect, of how you can control/affect how the music ends up sounding perhaps more than any other single instrument, but it might not be obvious to the listener. Playing bass does give us special insight that other instruments don't (and power, heh heh . . .)

"Mars Volta was just me on upright for one song Televators, and some other track that hasn't been released to my knowledge. Great guys - such telepathic musicians."

wow , JMJ and the Mars Volta! That's soo much talent and ..... hair:hiding:.

Just a side note for y'all...

Do a Goggle search for "John Davis Jojo Mayer Nerve". JohnDavisNYC, knows a thing or two about effects ;) Great stuff, John!

Now back to your regular JMJ programming. :)

sorry i haven't read through all the posts.

I was wondering how you keep a clean signal path though all those effects. do you ever get buzz/hum and how do you deal with it.

also, how do you make up for volume loss when you add a lot of effects.

Hey Justin,

Just wondered what your views were on the Sansamp RBI, does the extra mid control make much a difference? Just asking as you hav