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How do you play your J-bass?
- Thread starter ryanfenderbass
- Start date
I have only a CIJ fretless Jazz. I had Jim Mouradian make me a small crescent of lucite that accepts the pickguard screw that is mounted about 1-2 inches from the end of the fingerboard. I anchor there almost exclusively and use two fingers and pluck aggressively.
On any of my Js, I find that if I play with my fingertips, the sound is very piano-like and devoid of the fundamentals of the lowest notes, robbing me of the pleasure of booming the venue.
This will of course, change with the type of strings you use. I prefer Elixir Nanos on one J and stock MII Squier 7250 NPS red silks on the others.
It makes a BIG difference when you change strings, so if you're in the dumps about your sound, - go for a string change first to save money. .
I play a LOT with my thumb though, and my teacher was very relieved to find that I could even do that at all.
If I pick, I use a thick felt ukelele pick in gray color as it thumps and will have the soft release that I like.
One of my Js has a neoprene dampener under the bridge cover so I can get into the cellar with tone, and I also added a Series-Parallel switch under the Tone pot (dual pot) to change the sound to a more brilliant value for those times when I don't want to twist a knob and I can just pull up on the knob and get there instantly.
This will of course, change with the type of strings you use. I prefer Elixir Nanos on one J and stock MII Squier 7250 NPS red silks on the others.
It makes a BIG difference when you change strings, so if you're in the dumps about your sound, - go for a string change first to save money. .
I play a LOT with my thumb though, and my teacher was very relieved to find that I could even do that at all.
If I pick, I use a thick felt ukelele pick in gray color as it thumps and will have the soft release that I like.
One of my Js has a neoprene dampener under the bridge cover so I can get into the cellar with tone, and I also added a Series-Parallel switch under the Tone pot (dual pot) to change the sound to a more brilliant value for those times when I don't want to twist a knob and I can just pull up on the knob and get there instantly.
I play finger style about 90% of the time. Thumb placement depends on what and where I'm playing. For most stuff my thumb actually rests or leverages off the E string or the neck pickup when I'm playing over that pick up. It's on the E string or it floats when I'm playing in the sweet spot. The other 10% is playing wth a pick and maybe a bit with my thumb for string bass sound.
Like many of the others I tend to use the pads on my fingers for a more laid back and softer tone and the tips for a stronger attack and for triplets. I keep the nails on my right hand trimmed back to I don't have a problem with them hitting the string and creating and abrupt change in the dynamic.
My Jazz Bass is so varied tonally that I can mix pickup blends and tone setting to get about anything I want from that mid range growl to a very smooth and glossy darker low end. I never have a fixed way of adjusting that mix. A lot depends on the material, the room I'm playing and whether or not I'm playing through the PA.
It's my belief that the strings you play have a lot to do with how the instrument "speaks". I don't like flats on a Jazz Bass and some rounds are too bright so I'm playing with pressure wounds right now and I like what I can get out of my bass with them. It's a very expressive string.
Like many of the others I tend to use the pads on my fingers for a more laid back and softer tone and the tips for a stronger attack and for triplets. I keep the nails on my right hand trimmed back to I don't have a problem with them hitting the string and creating and abrupt change in the dynamic.
My Jazz Bass is so varied tonally that I can mix pickup blends and tone setting to get about anything I want from that mid range growl to a very smooth and glossy darker low end. I never have a fixed way of adjusting that mix. A lot depends on the material, the room I'm playing and whether or not I'm playing through the PA.
It's my belief that the strings you play have a lot to do with how the instrument "speaks". I don't like flats on a Jazz Bass and some rounds are too bright so I'm playing with pressure wounds right now and I like what I can get out of my bass with them. It's a very expressive string.
Yeah,maybe..
but def an interesting thread,
J basses are an odd lot, sooo many ways to get different tones ..
Not as straightforward as a P bass
even a Les Paul is simpler, and easier to figure out by ones self.
I think it's really interesting hearing how folks set them,
Sometimes I go through phases where the neck pu sounds right to me, or slightly panned towards one side..
I've done the both pu's full on thing for a while too.
I always wondered what most folks did with their J's, if there was a sort of standard setting that most folks used..
Passive J's are a very interesting, complex blend of tones, I'm still learning new ways to use them.
but def an interesting thread,
J basses are an odd lot, sooo many ways to get different tones ..
Not as straightforward as a P bass
even a Les Paul is simpler, and easier to figure out by ones self.
I think it's really interesting hearing how folks set them,
Sometimes I go through phases where the neck pu sounds right to me, or slightly panned towards one side..
I've done the both pu's full on thing for a while too.
I always wondered what most folks did with their J's, if there was a sort of standard setting that most folks used..
Passive J's are a very interesting, complex blend of tones, I'm still learning new ways to use them.
I play with picks and fingers. I notice the tone is way deeper if I stroke the string above the neck pickup. Most of the time though, I am RIGHT over it. I like to keep my volume knobs on about eight. That way, I have headroom in an emergency situation. And I USE my tone knob. Turn it down to three, and the tone is fat and fluffy. Crank it to eight and it growls and cuts through the mix. Depending on your amp settings, of course. I guess I'd suggest putting your tone knob on about eight, and then configuring your amp knobs to achieve the crankiest, sharpest, snappiest, bitey-est tone you will want. Then, for a fatter tone, just turn that knob counterclockwise a bit.
It's a really wonderful instrument, the Jazz. I get plenty o-compliments on my tone. Jazz bass with upgraded pickups (they say 'noiseless' on them)(?). Ampeg BA-115HPT (tube pre). And yes, the growl is one of their best tricks. It's a manly growl.
It's a really wonderful instrument, the Jazz. I get plenty o-compliments on my tone. Jazz bass with upgraded pickups (they say 'noiseless' on them)(?). Ampeg BA-115HPT (tube pre). And yes, the growl is one of their best tricks. It's a manly growl.
I guess I share the J-bass fascination, too. Got rid of a franken-Jazz a while back that had the pickups out of a Geddy-J and I was amazed with how radically different its tones seemed to me in comparison with my old honey; another parts bass with inherently more "mid-scooped" DiMarzio Ultra J's (both are passive). Different pickups and fresh strings seem to have the potential to take things to a different place with these rigs.
The one with the Geddy guts (probably single coils) had a whole lot of mids. That was a plus for playing with the bridge pickup wide open and the neck pickup volume backed off only 10-15%. Nice sound - more nasally, etc. without giving away too much low end. Soloing the neck pickup or running both wide open on that rig was just too raw for me though. Couldn't really mellow it down and I also couldn't get a decent slap sound with it, so it's found a new home.
My DiMarzio loaded bass (those are humbuckers) isn't perfect, but it covers a really big tonal range for me. Soloing the neck pickup, opening up the passive tone a bit, and playing fingerstyle up toward the neck is super fat and warm. Nice for chugging out some ZZ Top and stuff like that. I can also pick with the neck solo'ed and get a sweet Ian Hill sound that's right in the neighborhood of "The Rage" intro.
Both pickups wide open can cover a whole lot of ground when zipping along through the covers and when I'm ready to slap a little bit (once or twice a show), I only need to open up the tone to get some extra higher end bite. I can also sit fine in the mix when I've got that bridge pickup cut just a little, but I'll usually add just a little low freq. at my amp to keep the foundation together.
Since my passive J-bass isn't as hot and aggressive as a newer active P/J acquisition, I need to remember to turn my amp up louder when I play it. Don't want to exhaust my hands trying to make more volume when I only need to tweak that master vol. knob and let my overkill power amp do the heavy lifting. My thumb usually parks in the nook formed by the E string and the top edge of either pickup or maybe the bottom edge of my neck pickup. Depends on how much "bigness" or "sharpness" I'm going for.
The one with the Geddy guts (probably single coils) had a whole lot of mids. That was a plus for playing with the bridge pickup wide open and the neck pickup volume backed off only 10-15%. Nice sound - more nasally, etc. without giving away too much low end. Soloing the neck pickup or running both wide open on that rig was just too raw for me though. Couldn't really mellow it down and I also couldn't get a decent slap sound with it, so it's found a new home.
My DiMarzio loaded bass (those are humbuckers) isn't perfect, but it covers a really big tonal range for me. Soloing the neck pickup, opening up the passive tone a bit, and playing fingerstyle up toward the neck is super fat and warm. Nice for chugging out some ZZ Top and stuff like that. I can also pick with the neck solo'ed and get a sweet Ian Hill sound that's right in the neighborhood of "The Rage" intro.
Both pickups wide open can cover a whole lot of ground when zipping along through the covers and when I'm ready to slap a little bit (once or twice a show), I only need to open up the tone to get some extra higher end bite. I can also sit fine in the mix when I've got that bridge pickup cut just a little, but I'll usually add just a little low freq. at my amp to keep the foundation together.
Since my passive J-bass isn't as hot and aggressive as a newer active P/J acquisition, I need to remember to turn my amp up louder when I play it. Don't want to exhaust my hands trying to make more volume when I only need to tweak that master vol. knob and let my overkill power amp do the heavy lifting. My thumb usually parks in the nook formed by the E string and the top edge of either pickup or maybe the bottom edge of my neck pickup. Depends on how much "bigness" or "sharpness" I'm going for.
I like to crank my neck pick-up to full then bring it back a little bit and have the bridge pick-up sitting somewhere around half. My natural playing style is to attack the living hell out of the strings (thanks to Mr Steve Harris), I get a good throaty sound out of that which I absolutely adore. As for where? I tend to rest my thumb on the bridge pick-up when I'm playing on either the E or A string, the E string if I'm playing the D string and the A string if I'm playing the G string. I have relatively long fingers which is why I tend to leave a string in between.
I dont own a J-bass at the moment, but when i do play one...
- I tend to use the "floating" anchor technique (i think thats what its called) where i will rest my thumb on the neck pickup when playing the low E string, but if i move up a string, i anchor my thumb on the string below (so if i was playing the D string, i would rest my thumb on the A string). However.. if the passage im playing involves quick use of 2 or more strings, i tend to anchor my thumb on the string below the lowest one being fretted, and just leave it there until i move on. Kind of complicated i know... but it seems to just happen naturally.
- I fingerpick pretty much 100% of the time, even when playing heavier music, although i do know how to use a pick. How hard i pluck depends on the song or sound im after and i usually use 2 fingers, sometimes i use 3 for fast iron-maidenish gallops. I sometimes put my thumb and index finger together at the tips, and strum the strings with my index fingernail for a pick-like sound too.
- Usually have the neck pickup turn up all the way, with the bridge pup about half or so, and set the tone knob 3/4 up.
- I tend to use the "floating" anchor technique (i think thats what its called) where i will rest my thumb on the neck pickup when playing the low E string, but if i move up a string, i anchor my thumb on the string below (so if i was playing the D string, i would rest my thumb on the A string). However.. if the passage im playing involves quick use of 2 or more strings, i tend to anchor my thumb on the string below the lowest one being fretted, and just leave it there until i move on. Kind of complicated i know... but it seems to just happen naturally.
- I fingerpick pretty much 100% of the time, even when playing heavier music, although i do know how to use a pick. How hard i pluck depends on the song or sound im after and i usually use 2 fingers, sometimes i use 3 for fast iron-maidenish gallops. I sometimes put my thumb and index finger together at the tips, and strum the strings with my index fingernail for a pick-like sound too.
- Usually have the neck pickup turn up all the way, with the bridge pup about half or so, and set the tone knob 3/4 up.
Fitz said:
Actually, when I posted this thread, it was the first time I thought about playing since I started 14 years ago! I think this thread has been totally enlightening. Thanks for your contributions, everyone!
Where I keep the tone knobs for each pickup usually has to do with what amp I'm playing through, as far as finger style goes: for slow and quite grooves i stick between the neck and the neck pick up(on the flip side i stay here when i play slap as well). Most of the time I chill between the two, plucking a little closer to the bridge than the neck pickup rolling the tone knob up down depending on how much growl i want. The only time i ever really crank one pick up drastically more than the other is when i play any kind of harmonics, but even then it depends on what sound I'm going for. The neck pickup can get you creamy smooth harmonics, while the bridge pickup allows the harmonics to come out crisper and clearer.
man J basses are just where it's at
man J basses are just where it's at
My J is my number one. Some sort of J probably always will be. Can't get enough of them.
I play through an Ampeg B2Re with an '83 Marshall 1550 1x15 Cab. I keep the lows and mids slightly boosted, my treble slightly rolled.
My J runs with both pickups full drive, and my tone knob all the way down. Strings are flatwounds.
Basically, Flatwounds+1x15+Amp EQ+Tone knob down= warm, 60s chocolatey roundness. And if I was playing through anything but a J, I'd get totally lost in the mix and sound muddy and gross. But the natural clarity and high end of the jazz acts as a counter-balance to all of the emphasis on warmth from the other elements ofthe rig. It's a delicate thing, and there are some rooms where I don't have enough juice to get what I need, and I end up having to re-EQ and play with a slightly more trebly sound to be present at all. But most of the time, the idea works and I get the sound I'm after.
I play in an all-original Christian rock band, and our material leans towards indie and folk a little. My drummer and I add in the grit, as our influences are heavier than our guitarist/vocalist's. It's a nice sound, and I don't think I'd be getting it right if it wasn't for the Jazz bass. Bless it!
I play through an Ampeg B2Re with an '83 Marshall 1550 1x15 Cab. I keep the lows and mids slightly boosted, my treble slightly rolled.
My J runs with both pickups full drive, and my tone knob all the way down. Strings are flatwounds.
Basically, Flatwounds+1x15+Amp EQ+Tone knob down= warm, 60s chocolatey roundness. And if I was playing through anything but a J, I'd get totally lost in the mix and sound muddy and gross. But the natural clarity and high end of the jazz acts as a counter-balance to all of the emphasis on warmth from the other elements ofthe rig. It's a delicate thing, and there are some rooms where I don't have enough juice to get what I need, and I end up having to re-EQ and play with a slightly more trebly sound to be present at all. But most of the time, the idea works and I get the sound I'm after.
I play in an all-original Christian rock band, and our material leans towards indie and folk a little. My drummer and I add in the grit, as our influences are heavier than our guitarist/vocalist's. It's a nice sound, and I don't think I'd be getting it right if it wasn't for the Jazz bass. Bless it!
Could anyone give me some feedback on the tone I've been getting out of my J Bass? Any thoughts would be appreciated!
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I think it's a great sound, but if you're trying for the Jamerson vibe, two things could make it a bit more period-appropriate.
1) Foam or palm-muting to lose some of the sustain. The note should get out of the way as soon as you hit it.
2) It has a little too much jazz growl. I would try playing over the neck pickup or roll the bridge pickup off a bit. And maybe play a bit harder.
Nice job.
1) Foam or palm-muting to lose some of the sustain. The note should get out of the way as soon as you hit it.
2) It has a little too much jazz growl. I would try playing over the neck pickup or roll the bridge pickup off a bit. And maybe play a bit harder.
Nice job.
thumb usually anchored on the neck pickup, fingers playing between the two pickups (slightly closer to the neck). i tend to lay into the strings pretty hard (unless i'm playing at a softer volume, of course). both volumes are typically kept all the way up. tone is rolled off just a little, just a little.
but yeah... beat the heck out of it.
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With flats, of course. 
Finger-style only, thumb anchored on the mid pup. No effects, other than a limiter sometimes (depending on the room). Oh... and tone rolled back about 60%.
Finger-style only, thumb anchored on the mid pup. No effects, other than a limiter sometimes (depending on the room). Oh... and tone rolled back about 60%.
