Birth of a new "SuperJazz"

[Fender32]

Nearest I got at the moment...

I may try to get some better pics taken after seeing Fender 32's nice shots of his black version.

No problemo, Billy .

Just pop the old Jazzaroonies in the post and I'll sort out some swell photos for you. At least that way you'll have something to remember them by, if they accidentally get "lost in transit" .



Serious question for you though, bassybill:

What is the neck profile like on your Status Jazzes? Is it more like a P Bass, a J Bass, or a Status bass? I ask because the neck on mine is (obviously) a StingRay replacement and it has a very similar profile to a pre-EB 'Ray (wide and thin, but a bit more "square" at the edges). Just curious ....

 

[BassyBill]

No problemo, Billy .

Just pop the old Jazzaroonies in the post and I'll sort out some swell photos for you. At least that way you'll have something to remember them by, if they accidentally get "lost in transit" .



Serious question for you though, bassybill:

What is the neck profile like on your Status Jazzes? Is it more like a P Bass, a J Bass, or a Status bass? I ask because the neck on mine is (obviously) a StingRay replacement and it has a very similar profile to a pre-EB 'Ray (wide and thin, but a bit more "square" at the edges). Just curious ....

The neck profiles feel pretty similar to my MIM Standard Jazz bass to me. Although not the sylph like slimness of the Geddy bass, they're definitely slimmer than my P bass, or my Ray and baseball-bat neck Rickenbacker (not that I don't enjoy playing it though - from what I've read on here I'm a lot less fussy about neck profile, width, string spacing etc than many folks; as long as the action goes reasonably low without serious buzzing all over the place I guess I'm fairly easily pleased).

I really like the Ray neck profile, by the way. You've got me gassing for a Stealth JazzRay, you swine! But I think the main thing I like about the Ray is the satin finish on the neck, very comfy. The Stingray is a great playing bass, I have to say, but the tone doesn't do it for me, it sounds very harsh and "synthetic" compared to the Status Jazz, which has a very open, clear, uncoloured sound in comparison (to my ears, anyway). Combine that with the dreaded Stingray "quiet G" syndrome, which I find quite noticeable with my own in a band mix, and it all means the Ray tends to stay at home, I'm afraid.

So, next project - maybe a "black everything" PJ with a Status Stingray neck (I wonder if Rob could do me a satin finish?). Hmmmm...

 

[Fender32]

The neck profiles feel pretty similar to my MIM Standard Jazz bass to me. Although not the sylph like slimness of the Geddy bass, they're definitely slimmer than my P bass, or my Ray and baseball-bat neck Rickenbacker (not that I don't enjoy playing it though - from what I've read on here I'm a lot less fussy about neck profile, width, string spacing etc than many folks; as long as the action goes reasonably low without serious buzzing all over the place I guess I'm fairly easily pleased).

I really like the Ray neck profile, by the way. You've got me gassing for a Stealth JazzRay, you swine! But I think the main thing I like about the Ray is the satin finish on the neck, very comfy. The Stingray is a great playing bass, I have to say, but the tone doesn't do it for me, it sounds very harsh and "synthetic" compared to the Status Jazz, which has a very open, clear, uncoloured sound in comparison (to my ears, anyway). Combine that with the dreaded Stingray "quiet G" syndrome, which I find quite noticeable with my own in a band mix, and it all means the Ray tends to stay at home, I'm afraid.

So, next project - maybe a "black everything" PJ with a Status Stingray neck (I wonder if Rob could do me a satin finish?). Hmmmm...

Again, we are in agreement ! I love the recorded sound (i.e. not played by me) of a StingRay, above almost any other bass, but in my hands ... erm, no :scowl:! I can't get on with; the inaudible, G string, the lack of midrange smoothness, the nitro lacquer on the neck (on older 'Rays) and as a result, I hardly use either of my two 'Rays .

I don't know if you've seen this Bill, but I originally bought the Status neck to fit to my 2004 EBMM 'Ray. It looked absolutley "killer" (as we like to say here on TB ), but the neck did little to improve the tone, as we discussed earlier.

Time for me to annoy a few people, by posting this piccy again :

As for getting a Status neck with a satin finish, I have my doubts . If I understand correctly (mighty big "if" ), they use a "gel coat" on the necks, which I believe goes on quite thick and is buffed up to a shine. I'm sure Rob will give you the low-down if you email him, though.

An all-black PJ would be supremely cool - I urge you to do it immediatley and post lots of pics here .

Andy

 

[fiendn]

Pickup height... well, I usually look at factory specs if available, then bearing those in mind I try for the "as low as you can get without bashing the strings" position, and sort of compromise between the two. Just experiment until you're happy with the tone/string balance/output really.

EMG say you can get their active pickups a lot closer to the strings than conventional pickups as the magnetism is weaker and won't cause "wolf tones" or other problems. In practice my three Js (two with EMGs, one with NJ4SEs) all have pups set about the same, somewhat lower than Fender spec.

My Status came from Rob Green set up perfectly and I haven't touched its pickup adjustment.

thats not what a "wolf tone" means buddy. The principal negative effects of pickups too close to the strings have nothing at all to do with production of "wolf tones" (which are caused by resonance with sounding body... completely unrelated to electromagnetism...).

Negative effects are:
1. sometimes dramatic reduction of sustain (which i find not to generally be a problem with basses).
2. massive tuning and intonation issues (due to magnet interfering with natural vibration of string.. and given the distance between magnet and strings differ depending on which fret is stopped, etc. Therefore the effect is more or less pronounced on different areas of fretboard thus exacerbating the problem exponentially owing to unpredictability).


And finally, when I play traditional fingerstyle i anchor upon, and play directly over, the bridge p'up. If p'up set to high relative to strings, it majorly interferes with my right hand technique.

It is this third factor that normally limits how high i can set my p'ups.

 

[bobyoung53]

thats not what a "wolf tone" means buddy. The principal negative effects of pickups too close to the strings have nothing at all to do with production of "wolf tones" (which are caused by resonance with sounding body... completely unrelated to electromagnetism...).

Negative effects are:
1. sometimes dramatic reduction of sustain (which i find not to generally be a problem with basses).
2. massive tuning and intonation issues (due to magnet interfering with natural vibration of string.. and given the distance between magnet and strings differ depending on which fret is stopped, etc. Therefore the effect is more or less pronounced on different areas of fretboard thus exacerbating the problem exponentially owing to unpredictability).


And finally, when I play traditional fingerstyle i anchor upon, and play directly over, the bridge p'up. If p'up set to high relative to strings, it majorly interferes with my right hand technique.

It is this third factor that normally limits how high i can set my p'ups.

Just to let you know,that post you responded to is almost ten years old!