Don't know whether Jaco used compression. But in this case, namely fusion jazz, compression can also be useful when used not as an obvious effect to alter the tone, as described in my post above, but as a concealed corrective tool in order to keep playing dynamics in check. Slapping is also a typical application of compression as a corrective tool. Of course, if one has perfect technique and each and every note is in total balance dynamic-wise with the previous and the following note, then compression is not necessary. But for mere mortals, it can be a useful tool when used appropriately.
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Compression: I’ve see the light!
- Thread starter kyral210
- Start date
Don't know whether Jaco used compression. But in this case, namely fusion jazz, compression can also be useful when used not as an obvious effect to alter the tone, as described in my post above, but as a concealed corrective tool in order to keep playing dynamics in check. Slapping is also a typical application of compression as a corrective tool. Of course, if one has perfect technique and each and every note is in total balance dynamic-wise with the previous and the following note, then compression is not necessary. But for mere mortals, it can be a useful tool when used appropriately.
To get the Jaco tone/vibe as such, I suppose you just need a fretless Jbass and an Acoustic amp/cab setup. Or something equivalent. And a lot of practice. And Jaco's vision.
I see! I will have to look into compression then .... especially as I think my technique is less than perfect! I usually go straight into the amp as I have found in the past that pedals affect the signal.
well, I’m not a Jaco man so I’ll let someone else chime in to that end, but also be aware that how you set the compressor and it’s inherent design may fight your specific attempts at manual dynamic range during performance. I don’t believe you’ll sacrifice much if any Jacoesque tone degradation, but I’ve been wrong on most things in life, LOL. Your mileage may vary, but in my case I play with the following setup, always on. I prefer the compressor at the end of chain following all other signal modification
Let me add that even the recordings of superhuman bass players, I suppose Jaco included, have been compressed in the studio during production. Even in cases where the bass player did not use compression him/herself. Compression glues everything together. So what we hear when listening to a Weather Report album is, in some way or another, compressed bass tone.
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ooppss! I mean my tone haha!I sure hope so
I did not know that! so that would have applied to all of Jacos' albums like Word Of Mouth et al too?
A suggestion for a "special sauce" pedal in another thread had this Hagerman as a suggestion:
Valve - 12AU7 Warm Boost Pedal
When I checked out the other pedals in the line, I noticed their Compressor:
[Invalid or Expired Link Removed]
I did see that the boost "Bandwidth" goes to 25Hz, while the compressor shows down to 30Hz, but found no similar comparison on the Markbass specs. Since I don't have a Compressor, but considering one, I have two questions?
Do those two Hagerman pedals do enough "different" things to consider both, and
Does anyone have any thoughts on the Hagerman vs. Markbass Comps?...
Thanks,
Valve - 12AU7 Warm Boost Pedal
When I checked out the other pedals in the line, I noticed their Compressor:
[Invalid or Expired Link Removed]
I did see that the boost "Bandwidth" goes to 25Hz, while the compressor shows down to 30Hz, but found no similar comparison on the Markbass specs. Since I don't have a Compressor, but considering one, I have two questions?
Do those two Hagerman pedals do enough "different" things to consider both, and
Does anyone have any thoughts on the Hagerman vs. Markbass Comps?...
Thanks,
I will have to do some careful research then.... lots of thought food here, and seriously consider looking into compression I tend to play mostly with my right hand on top of the treble pickup if that would make a difference with compression?
Johnny Marr recently did a long convo with that "That Pedal Show" guys and he talked about effects as "production at your feet." That's how I'd think about compression. It can just polish a sound, it can add a little texture, it can fatten it up, it's all the things that would likely happen during a recording. There's a reason why every sound engineer, from live at a small club to a top 40 album, uses compression. It makes things sound better.
I didn't want to read 400 pages - was hoping for an "abridged" version, but thanks! I should have "searched" that thread earlier, as it seems those that tried them like them.
How do you know..... are you a member of the illuminati?? I have a Boss gt-1b multi effects processor and most of the built in ones a rubbish.
Would love an Acoustic amp..... so rare now though to find original.
I didn't want to read 400 pages - was hoping for an "abridged" version, but thanks! I should have "searched" that thread earlier, as it seems those that tried them like them.
It's right there in alphabetical order (Hagerman and Markbass included). Don't need to go through 400 pages, just click the link for the compressor(s) you want to read about.
Maybe it's just the Moose Lodge. I have no experience with Boss GT series, just the Zoom.
Riis
Jaco's Acoustic amps were solid state, if I'm not mistaken. If so it should not be difficult to replicate their vibe with a decent modern SS amp. Well, perhaps not with a Fender Rumble or with an Ampeg with baked in SVT-like tone. A fretless Jbass with bright-ish roundwound strings (e.g. Rotos) should get you in the ballpark.
Ah the Freemasons (cue backward hand shake)! I used to own a zoom b3 I think it was called?
For me there is nothing like that tone! Not sure my orange amp would quite nail it though! Kicking myself as I had to sell my fretless Fender custom shop for financial reasons.
