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Grand Theft Precision

#41
Illbay said:
Jamerson's strings were dead-dead-dead. He stuffed foam-rubber into the bridge-cover. He did a lot of "preparation" to get that "Motown sound." Why do you think it is HIM comes to mind when you think of "that sound?"

When I think "P-bass," I think "slap/pop."

Now, if you have a FRETLESS P-bass with Jazz flats on it, you're going to have a far different "tone" than you have with fretted and roundwound strings. So talking about "that Fender tone" is kind of pointless, IMO.
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I dunno...Jamerson was one of the original Funk Brothers from about '59 or so. He played on so many of the great Motown classics that I just associate HIM with that Hook on the Precision.

I guess it's all about your frame of reference. As I said, I don't play any slap/pop. Aside from Flea, I really don't listen to much of that style. So you may be right about the P-bass being great for that style with rounds. In fact, there probably isn't a bass that's used across a wider range of styles then the Fender Precision Bass.

Obviously, tone has every bit as much to do with the player as it does the instrument. So being that I use my P for Motown and don't slap, that's my genre of reference, and talking about "that Fender tone" is not so pointless.
 
#43
Engine207 said:
...and talking about "that Fender tone" is not so pointless.
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I've just never been sold on that notion. For guitars, yes. For basses?

Too many variables. What sort of strings? Fretted, or fretless? How is it set up? What pickups are used? How positioned?

Look at the wide variety of Fender P-basses on the market over the years. I just don't agree there's a "certain tone" that's "Fender."

Bear in mind: I have a fretless Jazz with nice TI Jazz flats, and a fretted P with EB Super Slinky roundwounds. I use them for much, much different things, and they sound so, so different from one another. I'm not sure what "tonal characteristics" they have in common, that marks them as "Fenders" all the way.

(IMO, the characteristic Fender tone, if there is one, comes from the J-bass, anyway. By the way, am I conclusively right? Of course not; it's just my opinion. I'm mostly just challenging yours, to illustrate that it's not as cut-and-dry as you seem to think).
 
#44
Craig_S said:
I'll bet it's not the bridge. Snug up the bridge and neck screws and see if that helps, before you buy a bridge.
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+1 I couldn't agree more.

No matter how hard I try, I can't hear any difference in tone, sustain, or anything for that matter from one bridge to the next.

Tighten up everything that can get loose on that Fender, and you're set. IMHO it's all in your fingers.
 
#45
Illbay said:
it's just my opinion. I'm mostly just challenging yours, to illustrate that it's not as cut-and-dry as you seem to think.
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Wow...after the Chevrolet/Cadillac response (I have no idea what that means), I was just going to leave it alone, so as not to engage in a urination contest. :rollno:

How does
Engine207 said:
I guess it's all about your frame of reference...So you may be right about the P-bass being great for that style with rounds. In fact, there probably isn't a bass that's used across a wider range of styles then the Fender Precision Bass.

Obviously, tone has every bit as much to do with the player as it does the instrument. So being that I use my P for Motown and don't slap, that's my genre of reference.
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illustrate that I think anything is cut-and-dry? :confused:
 
#47
Illbay said:
When I think "P-bass," I think "slap/pop."
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mongo2 said:
I don't think that at all. I may associate a particular playing technique with a particular player or genre but never with an instrument.
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There's actually a thread entitled http://www.talkbass.com/forum/showthread.php?t=551596 that was started a couple of hours after this discussion. Some very interesting stuff regarding the use of P-basses for slap/pop.

My original post had more to do with the choice of replacement bridges for P-basses that increased sustain without adding any unwanted brightness or top-end (as opposed to a discussion of what a Precision could or could not be used for.
 
#48
mongo2 said:
I've tried many bridges but I keep going back to the '62 RI style bridge with the serrated saddles for P and Js with 5 mounting screws and my DIY builds.

099-0804-100.jpg
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:cool:
The serrated saddles make a big difference.
 
#49
In my experience, any bridge that's heavier than the stocker will add brightness. It's particularly obvious if you go from stock to a really heavy one like a Hipshot A (9.6oz.) or BA II (7.8oz.). You might notice a tiny bit more sustain, but not much- the effect is mostly seen in the treble range.
IMO a good compromise is the Hipshot 'Vintage'. Just a little heavier than stock, but much stiffer. And cool.
 
#50
In regards to the P-Bass tone, Steve Harris (Iron Maiden) seems to me to get a very cutting through tone with a BIG bottom from his P-Bass with flats! While playing metal fingerstyle! On every Iron Maiden record and live, the bass is very prominent. I'm not sure what amps he's using though.
 
#53
Stacatto said:
What's your opinion about whether this Fender Bridge would be a drop-in replacement for a 2008 Fender Standard MIM Jazz Bass.
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I'm pretty sure that any Fender made five-hole bridge is a drop-in for Standard Jazz and Precisions. Same goes for five-hole Gotohs (like the 201) and BadAss II (not I - which is three hole)
 

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