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Bandmates prefer Jazz Basses...

#202
Frenchy-Lefty said:
I did not get to read all the responses but the G&L LB100 has a split coil that is notoriously high output and therefore harsh sounding. I have always thought of getting one if those basses and changing the pickup for a more vintage SD SPB1or Original '62.
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Don't mean to take this awesome thread down a side road, but the Original 62 has vintage style output and is passive, and that's where the similarities to a real vintage P pickup end. It's way brighter and more mid scooped than most vintage style pickups like the SPB-1.
 
#204
In one of the recent bands I'm active in, I was quite happy that the bandleader in particular, and the others in general, after I tried a few different basses in the first few rehearsals and mentioned what else I had available, expressed an interest in how each sounded and most importantly what color the basses are and what each looked like.

First time that's happened in more years and bands I can count, from basements to studios to arenas.

I could have played whatever, but was more than happy to comply with their preferences and have other ears to rely on. What sits best in our mix from their perspective in the room and onstage, as well as mine directly in front of the bass stack, is equally important, and what looks best on stage is of paramount importance.

Take this to an extreme.... would all you tough no-compromise guys really insist on using your 1986 neon green bass with pointy headstock for a pop or jazz gig? Maybe if your bandmates have little shame and a great sense of hipster irony. Those things looked ridiculous even in 1986. Sometimes advice is good advice. Sometimes a request is a reasonable request. Especially if it's from someone you respect, be it a wife, band mate, mentor, whatever.

Can't hurt to try.
 
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#205
Frenchy-Lefty said:
I did not get to read all the responses but the G&L LB100 has a split coil that is notoriously high output and therefore harsh sounding. I have always thought of getting one if those basses and changing the pickup for a more vintage SD SPB1or Original '62.
Click to expand...

I've had a G&L with MFDs and those WERE hot to the point of difficult to work with(for me at least). I didn't think the LB100 was known for being really hot/aggressive? The times i've heard it demo'd (like Ed Friedlands vids) it sounds just like a really nice P!
 
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#206
StayLow said:
In one of the recent bands I'm active in, I was quite happy that the bandleader in particular, and the others in general, after I tried a few different basses in the first few rehearsals and mentioned what else I had available, expressed an interest in how each sounded and most importantly what color the basses are and what each looked like.

I could have played whatever, but was more than happy to comply with their preferences and have other ears to rely on. What sits best in our mix from their perspective in the room and onstage, as well as mine directly in front of the bass stack, is equally important, and what looks best on stage is of paramount importance.

Take this to an extreme.... would all you tough no-compromise guys really insist on using your 1986 neon green bass with pointy headstock for a pop or jazz gig? Maybe if your bandmates have little shame and a great sense of hipster irony. Those things looked ridiculous even in 1986. Sometimes advice is good advice. Sometimes a request is a reasonable request. Especially if it's from someone you respect, be it a wife, band mate, mentor, whatever.

Can't hurt to try.
Click to expand...

Sometimes the people who are the tough no compromise are simply just that and have absolutely no experience with, as I already said before, real world music.
 
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#207
Closest I was ever asked to play a particular bass in 34 years of gigging was about 7 years ago. BL wanted me to audition for his very popular wedding band. Asked me if I had a 5 string bass. I said "yes, but why do you ask?" He really didn't have a sensible response. I then asked to see his setlist. I found 3 songs out of 135 that might have required a 5. Mostly classic dance and 70's disco. We both had a laugh. He realized what I was getting at and never bothered me again about my gear.
 
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#208
Yea, I think there are just some people who think it's 'just a bass' and because they know guitars, they assume they know it all about tone in general..

I had a guitarist (awesome player, and really nice guy), but he used to say : " aw man, you should get an amped and an 810...and a fender pbass, those things sound awesome "

:/

I've never owned an amped (never played one that I loved, or had to have anyway)

And I DO own a pbass (with the jazz pu as well) , but I never really play it, I'm more of a 5 string guy.
 
#211
AlienLanes said:
Hey all! As you can tell from my profile picture on here, I play a G&L LB-100 P bass copy. I've played mostly P-style basses for the entirety of my bass playing and have always felt at home on them. I really do love my bass. However, we just got done rehearsal, and my guitar player/songwriter said something to me along the lines of: "Hey man, can't wait for you to lay down these tracks on my Jazz bass". So I guess my bass hasn't been providing the sound he's had in his head for the songs?? This also isn't the first instance of this happening, the guitar player of my last project stated multiple times: "You should totally get a jazz bass... they're the best bass."

What's a Precision loving guy to do with all these haters? I guess I should shop around and add a Jazz to the arsenal... (which I'm okay with)

Anyone else ever encounter this? I thought most people would prefer me to play a P since I would sit in the mix easier.
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It's probably because he has the sound of his jazz bass dialed in for recording. Since he knows the settings that work for that bass, he doesn't have to spend any time dialing in the sound from your G&L. I wouldn't take it too hard or as a slam on your bass. I take it as recording engineer's desire for expediency, efficiency, and economy (time is money when recording).
 
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#213
AlienLanes said:
Hey all! As you can tell from my profile picture on here, I play a G&L LB-100 P bass copy. I've played mostly P-style basses for the entirety of my bass playing and have always felt at home on them. I really do love my bass. However, we just got done rehearsal, and my guitar player/songwriter said something to me along the lines of: "Hey man, can't wait for you to lay down these tracks on my Jazz bass". So I guess my bass hasn't been providing the sound he's had in his head for the songs?? This also isn't the first instance of this happening, the guitar player of my last project stated multiple times: "You should totally get a jazz bass... they're the best bass."

What's a Precision loving guy to do with all these haters? I guess I should shop around and add a Jazz to the arsenal... (which I'm okay with)

Anyone else ever encounter this? I thought most people would prefer me to play a P since I would sit in the mix easier.
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Get a P/J bass. Both his tone and your tone will be catered for!
 
#216
Johnny April of Staind uses them. Rob Grange used a B-18 on a lot of the stuff he cut with Ted Nugent. Both of them are members here. And anyone who uses or used an Acoustic 361 or 301 used an 18". Just with that, you've already disproved Rob's statement :D
 
#217
I don't know what guitar the guitarist plays but whatever it is tell him he should use the opposite. Seriously though, if he's the boss and you are a "hired" sideman and you are playing the bass lines he wrote for his tunes you should try to accommodate his wishes. That said, if he's allowing you to play your own Iines then the bass you play and the sound you put out are your choices. However the hired sideman still applies if he's paying you.

I will add that in over 40 years of playing I've never had someone tell me what type of bass to use or what lines to play. Oh a few have tried to but I told them that wasn't going to happen. Some accepted it and I played my stuff. Others didn't and I moved on without compromising my style. I gave it no sweat because a good bass player can ALWAYS find a gig where he can be who he wants to be.

Keep low
 
#219
Chili Bo Billy said:
Another story, lead singer says that he doesn't care for my bass tone, again, no problem I ask what tone he is looking for and I proceed to dial in the tone he hears.
As soon as I dial in the tone he hears in his head, he says "That's it! don't touch a thing!" Just to clarify, This is during a sound check, he just hears the bass alone, not with the rest of the band.
When full band kicks in he yells, " where's the bass?!, what did you touch?" I said "nothing" I chuckle knowing that he made me pull all the mids and the definition is gone.
Sometimes you have to give people what they want so they can see for themselves what works and what doesn't work.
I will always oblige.
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Funny - I had pretty much the exact same thing happen in my first gigging band. The guitarist asked if he could experiment with my EQ. He was polite about it and had more experience than me, so I said sure. He basically scooped my mids. Previously I had kept it about 7-7-4 (like 1 o'clock - 1 o'clock - 11 o'clock), he changed it to about 9-2-8. Sounded great. We get out at the next gig, start the first song, and he shouts over at me, "Can you turn down?" "Turn down? I only have the volume at about 4." "Yeah, turn down, it's way too boomy!" Boomy, I think. Hmmm. I go to my amp and, instead of changing the volume, put the EQ back to 7-7-4. "How's that?" "Much better, great!"
 
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#220
If you have the opportunity to record rehearsals, maybe try a rehearsal with the jazz and one with the Precision. When you go into the studio, you might find that one is a better choice than the other for a given tune. nothing wrong with playing two basses.
 

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