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I think I need a 70's Fender :)

#81
I just listened. That bass sounds really good, but mine has more bloom to the sound (and more dynamic range), I think. Again, this particular bass (my 76) is pretty special. I wish you could play it -- it just vibrates your whole body when you hit harmonics. Again, kinda hard to describe. I guess this is why it is silly to generalize basses the way we all do here on TB :)
 
#83
narud said:
and just for fun, my old reissue
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Nice playing, as usual! I don't think your reissue sounds like the other clip of the real 70s bass though. There is something different in the high mids, and your bass sounds more compressed. I wish we could hear you playing both basses, though.

I have re listened a couple of times. There is something different going on in the low end too. When the guy with the real 70s bass hits (especially noticeable with slaps) the E string, the real 76 has a more open character than your reissue. One other thing, neither one of those clips sounds exactly like a stereotypical 70s Jazz bass to me. Both are too modern sounding (for lack of a better word), than a real 70s Fender.
 
#84
narud said:
heres the thread
http://www.talkbass.com/forum/showthread.php?t=660814

clip
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I know I'm going to get flamed for this, but that's very similar to how my SX jazz bass sounds after stripping the paint and covering it in rustoleum brown, changing the wiring to CAT 5 network cable, adding a push pull pot for series / parallel. (....with standard parallel mode engaged), replacing the pots to 250k each. Also replacing the bridge to a slightly better economy bridge. Of course, as with all SX jazz basses, the pickup spacing is 70s.

I'm not trying to start an argument, it just sounds very similar. :hiding:
 
#87
king_biscuit said:
Nice playing, as usual! I don't think your reissue sounds like the other clip of the real 70s bass though. There is something different in the high mids, and your bass sounds more compressed. I wish we could hear you playing both basses, though.

I have re listened a couple of times. There is something different going on in the low end too. When the guy with the real 70s bass hits (especially noticeable with slaps) the E string, the real 76 has a more open character than your reissue. One other thing, neither one of those clips sounds exactly like a stereotypical 70s Jazz bass to me. Both are too modern sounding (for lack of a better word), than a real 70s Fender.
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definitely something different in the high mids. that70's bass has stock duncans which are grindier. ive got a heavy bridge on the reissue trying to get more of that heft and less bloom.

id love to hear what your bass sounds like if it sounds less modern than these 2. those wider, almost thin in comparison pickups of a 70's jazz is something id usually describe as modern
 
#89
My '71 Jazz will be 40 years old next July. I think that qualifies as vintage.
But it's not pre-CBS, which is a whole 'nuther class of vintage. I think the real reason pre-CBS Fenders became the holy grail of tone is because Fender messed around so much with their line of guitar amps as well as the guitars themselves. Players learned about the cost-cutting changes made by the bean-counters from CBS and stayed away from those models.
I also agree that up until '72 or '73 Jazz and P-basses didn't really change all that much, and not nearly as much as the Telecaster and Strat. I don't think the bullet truss-rod adjustment was such a bad thing, but that became associated with the 3-bolt neck, which, when coupled (or actually un-coupled) with the sloppy neck pockets of the time, left alot of people unhappy. So it's more about the associated problems of the 3-bolt neck and its' implementation than the attachment method itself.
The magnets in a 40 or 50 year old electric guitar will have weakened measurably over the years. I'm sure that is another thing that people are referring to when they talk about vintage tone. And the change in the location of the bridge pup also contributes to that. Who would think that so small a thing would cause such a big difference? Certainly not the accountants.
(No offense to any of the CPA's posting here) :D
 
#90
Fenders are like Volkswagens, remember. You can replace any part on them or build one from the ground up. Maple neck and swamp ash body on a Jazz Bass configuration seems to be the magic formula for the Marcus Miller tone. The Marcus Miller signature basses get close
Just played a Roadworn Relic'ed 65 Jazz (MIM) that was pretty decent. For those of us in Geezer-dom and actually playing in the 70s the 70s J-basses weren't as highly prized as the 60s because they were so inconsistent.
There's a lot of options these days-I'd look at the Lakland Skyline Joe Osborne or Daryll Jones basses. The new Carvin Sekou Bunch in ash/maple/maple configuration gets very close as well at right at a grand for the active 5 string.
 
#91
Roy Vogt said:
For those of us in Geezer-dom and actually playing in the 70s the 70s J-basses weren't as highly prized as the 60s because they were so inconsistent.
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That let's me out. I switched to bass in '80.
But I remember what a dog my '71 Tele was. Way too much poly, and as heavy as lead! My '72 Strat was a little better, but not by much. I have no idea why I traded my '68 Tele for a '64 Bandmaster. I actually just wanted the 2X12 cab to put under my '66 Twin and play my '68 SG through.
The really funny thing is that none of the above cost me any more than $200.00 in cash or trade (except the Twin).
If I only knew then... :crying:
 
#92
Bluesbob said:
That let's me out. I switched to bass in '80.
But I remember what a dog my '71 Tele was. Way too much poly, and as heavy as lead! My '72 Strat was a little better, but not by much. I have no idea why I traded my '68 Tele for a '64 Bandmaster. I actually just wanted the 2X12 cab to put under my '66 Twin and play my '68 SG through.
The really funny thing is that none of the above cost me any more than $200.00 in cash or trade (except the Twin).
If I only knew then... :crying:
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I feel your pain. The One that Got Away for me was a '63 P-Bass that I bought for $325 and sold for $300 or so to Bloodrock bassist Ed Grundy to finance a Bicentennial Thunderbird reissue-my top "what was I thinking?" moment in the Bass World....
 
#93
Hey Roy, this is off topic, but since you are in the thread I've been wanting to ask you... I am a huge Jerry Reed fan, what was it like working with him. Did he give you and the other guys much creative freedom. I remember seeing you on an old TV show with Jerry and he had you and the guitarist sing the female backing parts which the audience ate up. Thanks,
 
#95
I own a MIM 70s Classic. After a bit of fretwork and shielding, they're awesome! Its seriously one of the best sounding and playing Jazzes I've owned including Fender CS and an 83 62 RI stack knob, plus a bunch of US AV and MIJ jazz basses. I ended up selling all my other Jazz basses.

The bridge that came on it blew and it kept dropping the E string like a mofo so that it hit the fretboard. I just swapped out the bridge.

I put a BAII and TI flats on mine and I've been rocking it now for two years.
 
#97
king_biscuit said:
Hey Roy, this is off topic, but since you are in the thread I've been wanting to ask you... I am a huge Jerry Reed fan, what was it like working with him. Did he give you and the other guys much creative freedom. I remember seeing you on an old TV show with Jerry and he had you and the guitarist sing the female backing parts which the audience ate up. Thanks,
Click to expand...

He was really fun, brilliant, and very, very funny. I was mostly concerned with making sure that it grooved like nobody's business-although I'd sometimes get a solo here or there. Here's a clip of a whole pile of Jerry Reed band alums doing "Guitar Man" last Summer at the CAAS Convention. I'm relieved to report that thanks to Mrs. Roy's adoption of the Joel Fuhrman diet and my subsequent "contact high" as far as dietary rehab, I'm considerably smaller these days....:D
 
#98
Roy Vogt said:
He was really fun, brilliant, and very, very funny. I was mostly concerned with making sure that it grooved like nobody's business-although I'd sometimes get a solo here or there. Here's a clip of a whole pile of Jerry Reed band alums doing "Guitar Man" last Summer at the CAAS Convention. I'm relieved to report that thanks to Mrs. Roy's adoption of the Joel Fuhrman diet and my subsequent "contact high" as far as dietary rehab, I'm considerably smaller these days....:D
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Thanks so much for taking the time to reply. I look forward to watching the videos in your link when I get home tonight.
 
#99
Roy Vogt said:
He was really fun, brilliant, and very, very funny. I was mostly concerned with making sure that it grooved like nobody's business-although I'd sometimes get a solo here or there. Here's a clip of a whole pile of Jerry Reed band alums doing "Guitar Man" last Summer at the CAAS Convention. I'm relieved to report that thanks to Mrs. Roy's adoption of the Joel Fuhrman diet and my subsequent "contact high" as far as dietary rehab, I'm considerably smaller these days....:D
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That's a nice solo right there! :bassist:
 
#100
GeneralElectric said:
I own a MIM 70s Classic. After a bit of fretwork and shielding, they're awesome! Its seriously one of the best sounding and playing Jazzes I've owned including Fender CS and an 83 62 RI stack knob, plus a bunch of US AV and MIJ jazz basses. I ended up selling all my other Jazz basses.

The bridge that came on it blew and it kept dropping the E string like a mofo so that it hit the fretboard. I just swapped out the bridge.

I put a BAII and TI flats on mine and I've been rocking it now for two years.
Click to expand...

I think my main problem is the lack of shielding. It can get pretty noisy at times.
 

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