Wood’s treble was cranked. Like Entwistle’s.Yes, I heard the same thing too, probably explains the difference in bss sound between the two albums, The first had a more polite sound and the second would rip your face off.Not much occasion to use that Ron Wood sound anymore for me, but it will be nice to have it on tap. I don't think the blues guys would like it very much.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
'54 Precision vs '60 Precision
- Thread starter tb-player
- Start date
Great band and a big influence on me. Got a chance to open for them but sadly long after Jimmie & Keith left the band. Fran Christina, and the rest of the band, couldn't have been nicer.
This was the pic on the cover of Girls Go Wild that changed my life.
Jimmy's one of my favorite guitarists. I especially like his first few solo albums with the organist.
My former drummer, Jason Corbiere (we raised him from a pup LOL) is now Jimmy’s drummer. He’s loving it! Catch their show when you have a chance. Jimmy had a close call with heart surgery recently but is coming out of it just fine!
No, I think that might be the guy he replaced who was with Jimmy for many years. Jason’s been with him maybe 3-4 years? There must be lots of pics, just not my long suit sharing them 
. Lemme look.
. Lemme look.
I'll have to wait until they come to Peru.
Although hopefully I'll be moving back to civilization sooner or later.
Last edited:
Here’s a recent pic with Jason on drums… When I saw them last he had a long-time organist. They were incredible!
Last edited:
Back in the late 70’s I had a 64 P bass that I loved. I needed to refret it, so I bought a ‘68 Tele bass to use while I worked on the P.
I had both for a time. I ran Rotosound rounds and used an SVT.
The tone and presence in the band were really close. The position of the single coil slightly closer to the neck seemed to compensate for the fuller two coil pickup on the ‘64 P. There was similar range, presence and punch with either bass.
I did wrap the single coil with thin brass to shield it which likely changed the response some. I usually hate single coil pickups. Most of the stages we played on were a couple feet from numerous neon bar signs. But I had little trouble with the Tele bass.
I had both for a time. I ran Rotosound rounds and used an SVT.
The tone and presence in the band were really close. The position of the single coil slightly closer to the neck seemed to compensate for the fuller two coil pickup on the ‘64 P. There was similar range, presence and punch with either bass.
I did wrap the single coil with thin brass to shield it which likely changed the response some. I usually hate single coil pickups. Most of the stages we played on were a couple feet from numerous neon bar signs. But I had little trouble with the Tele bass.
It's clearly hotter/louder/more present without changing the the single coil sound of having a bit brighter attack.
I played a couple of gigs with Jason when he was with Roomful of Blues. Nice to hear he's with Jimmy now.
I have a story that bobyoung53 might appreciate:
It was a pickup gig at Vincent's in Worcester, Jason was drumming, I was on bass and the guitarist/vocalist was a fellow named Jason James. When I introduced the two Jasons to each other, Jasion Corbiere said "That's funny, my middle name is James, I'm Jason James Corbiere". I thought the other Jason's eyes were going to pop out of his head. It was a great gig, too.
Last edited:
Jason’s turned into a fine drummer and a real character as well. We still do a Christmas special every year. Glad you had a chance to meet!
what are the bottom two bridges? look like great options!I own 5 single coil P Basses (including the AO '54).
Sound wise, the single coil pickup has more clarity, definition, tighter lower bass and some slight 60 cycle hum when the tone control is set to high. I actually really like the pickup's sound. By rolling off the high end a little bit, it starts sounds much like a split coil P Bass.
I do not like the 2 saddle bridge! The D and A side of the saddles are upward to match the neck's 7.25" radius. Thus, the saddles are slanted downward to the E and G side. This can cause when playing, all four strings to slide downward to the low end of the saddles. This is very annoying. I've used pull ties behind the saddles to hold the strings in place. Or, one can buy a 4 saddle string through body bridge as a replacement for the 2 saddle bridge.
The SCPB's necks are thicker............love it!
I love the the SCPBs! I love the split coil P Bass too!
Link RemovedLink Removed
The SCPB pickup seems more wide range than a split coil, more open, so a less compressed or filtered tone while picking up all the harmonics that make a P bass a P bass. This can be described as “woody” sounding, which I think really means it can sound more like the same bass played acoustically, depending on your EQ and gain settings. Sounds great with a bridge mute if you’re looking to get closer to an upright bass tone, which was of course the idea back in ‘51.
As someone said here already, the split coil was an attempt to tame that attack spike and save some speakers, and by ‘57, popular music had changed significantly (thanks to the P bass) so the upright tone wasn’t the tone goal so much, and the ‘57 took off.
Personally, I love the looks of the vintage reissues, but give me a modern MIA P bass any day. Comfortable neck width, frets that fee like the bass is playing itself, rolled fretboard edges, modern bridges and tuners, paint that doesn’t flake off, and whatever pickups you wanna drop in. The need to do an American Pro SCPB, bonus points if available in a 5-string. That I’d buy.
As someone said here already, the split coil was an attempt to tame that attack spike and save some speakers, and by ‘57, popular music had changed significantly (thanks to the P bass) so the upright tone wasn’t the tone goal so much, and the ‘57 took off.
Personally, I love the looks of the vintage reissues, but give me a modern MIA P bass any day. Comfortable neck width, frets that fee like the bass is playing itself, rolled fretboard edges, modern bridges and tuners, paint that doesn’t flake off, and whatever pickups you wanna drop in. The need to do an American Pro SCPB, bonus points if available in a 5-string. That I’d buy.
I'm a Jazz Bass guy but this is my '51 Bitsa. Ash body from Spain; chunky, C-shaped capped neck from the fast east; Fender reverse gear tuners; CTS pots and 'phone-book cap; single coil Donny C pup by Zhangbucker; Squier two-saddle bridge; Fender flats, and a lump of foam under the strings at the tail. Sorry for file quality.
While the the two saddle bridge might be period correct for a SCPB, I prefer a four saddle for intonation. I have a Danelectro with the one piece wodden saddle that's a PITA to intonate. On the other hand, my NS Radius has a one saddle piezo bridge and intonates perfectly, at least with the factory string set.
Do you two saddle owners think they sound any different than four saddles?
Do you two saddle owners think they sound any different than four saddles?
