| From Bass player. Enjoy bro:
Jeff has 12 basses onstage: three vintage Fender Precisions (including a sunburst ’59 once owned by Canned Heat’s Larry Taylor), two ’90s Modulus custom J-style basses, a 2000 Modulus custom Silvertone replica, two ’90s fretless Wal Basses, Hamer 8- and 12-strings, a ’70s Ovation Magnum, and an Azola Acoustic Baby Bass electric upright, plus a 1966 Gibson ES-330 guitar, which Ament plays on “Smile”—but he doesn’t use every bass in every show. “Jeff likes to get into a groove; when he starts getting comfortable with an instrument, he hangs with it for a while. If there’s a series of songs with standard-tuned, fretted 4-string, he tends to stick with what he’s got. He doesn’t like to change just for changing’s sake.”
From the receiver, Ament’s signal enters a complicated chain he and Webb have fine-tuned over the years (Fig. 1). Jeff’s pedalboard includes two MXR M-108 10-band EQs: One is dialed in for a bright sound, and the other has the high end rolled off and the lows boosted for a thicker tone. Each runs on its own effect loop out of an Aspect Designs switch box, so Jeff can run his signal through one EQ, both, or neither. When Ament steps on a second switch box, another MXR EQ, this one with six bands, feeds a Fulltone ’70 pedal. “It’s more of a guitar distortion,” says George of the pedal. “He gets an old, Acoustic 360-like fuzz tone from that loop.” The signal then passes through two Fulltone Bass-Drive pedals (“one is really overdriven, the other not so much”) followed by a Boss reverb/delay. “He uses that for a kind of synth-like, reverse-gated-reverb tone. He’ll hit a note and it’ll go from nothing into this sweeping sound.” | 
