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I was advised to use a Jazz Bass.. help!

#41
They are both classic instruments, each with their own signature tones.

If the producer has asked specifically for a Jazz, it might work better for the vision they have in their head and are trying to materialize.
Generally, it is usually good to follow the Producer's advice, there is a reason, after all, in their existence and in the band choosing them.

I don't think, though, that bringing more than one instrument to a recording session has ever hurt somebody.
Bring both the Jazz and the MM and choose in accordance with the band, the producer and the engineer(s) what is most fitting for each track.
 
#42
Here is my honest opinion. If you plan on making music your career, or at least as a semi professional musician, its a good idea to use the right tool for the job(or in some cases what you would be expected to use). Its one thing to say it doesn't matter what it looks like or sounds like if it works for you, but if a bass player wants to get hired again its a very good idea to have a few different axes(ie// Precision, Jazz, and a Ray). The Stingray is an aggressive sounding instrument that has a unique sound. It sits well in a mix, but does tend to have a much more "narrow" and less filling sound than a P or a J. Don't get me wrong, I love the classic Ray sound, but it has its place and isn't perfect for everything. A Jazz or Precision on the other hand can really fill out a track well and sit right in the mix without getting in the way.
 
#44
Why choose at the recording stage? Record the bassline with both instruments and let the producer decide what works better.
I've often ended up using two or more basses on one song, one for each section of the tune. If you have the time it is the best option.
 
#45
Shedua511 said:
Why choose at the recording stage? Record the bassline with both instruments and let the producer decide what works better.
I've often ended up using two or more basses on one song, one for each section of the tune. If you have the time it is the best option.
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I'm sure they have all the time and money in the world to record each song twice.

Seriously, you can't do that. Just bring the Jazz. I used to fight stuff like that until I discovered that a lot of times, they were right and I was just being an egomaniac and only looking at myself and not the big picture.
 
#47
If the OP is well rehearsed, it shouldn't be a problem finding the time to track an alternate version of the bassline.
I know it never has been an issue for myself and I've done a lot of studio work (in fact it has always been appreciated).
Anyway, whatever works, works ;)
 
#48
Pinta said:
Thank you so much for all the answers!

I play rather agressive (which is not always a good thing), I think the manager and the producer were trying to have a more mellow sound.

I'm new in this band, they have been playing for some time now and the original bassist quit because he didn't want to be in such a serious project, he didn't want to earn a living as a musician, he just wanted to keep music as a hobby. He was really honest about it and there are no grudges.

Anyway they asked me to join knowing I have a serious attitude and that I always thought of bands as a job and everything that implies (being on time, rested, fed, with energy to work, etc).

I'm still gaining my place, so if they ask me to record with the Jazz, i'll do exactly that. Im just happy to have landed a spot between people so comitted.


Thank you very much everyone!
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This is the way to go.

A lot of people here do not understand how hard it is to mix bass. The Fender bass is extremely popular because it is a very easy bass to mix for engineers. The MM is an active bass, and that changes things. Most likely these guys are adding EQ boost and cuts that fit the music.

This is why active basses are not always as popular in the studio. They may be boosted in the wrong frequency range and the engineer does not want to have to cut that range out and boost somewhere else.

Passive Fenders give the engineer so much control in the mix, and that is why they love the basses so much.
 
#49
AngelCrusher said:
This is the way to go.

A lot of people here do not understand how hard it is to mix bass. The Fender bass is extremely popular because it is a very easy bass to mix for engineers. The MM is an active bass, and that changes things. Most likely these guys are adding EQ boost and cuts that fit the music.

This is why active basses are not always as popular in the studio. They may be boosted in the wrong frequency range and the engineer does not want to have to cut that range out and boost somewhere else.

Passive Fenders give the engineer so much control in the mix, and that is why they love the basses so much.
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Yup!

I actually remember reading an article in Bass Player Mag where the bass player from Fugazi (i think) mentioned how he uses a MM Ray live but borrows a Jazz for the studio because it works better for recording.
 
#50
hover said:
I disagree with that statement.
You are not going to take a stingray into a studio and make it sound like a jazz. Ain't gonna happen.
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I agree but also think you will never get a Jazz to cut through like a MM. For recording purposes you might want to lower your bridge pickup on the MM(if going for a jazz sound) and then you can try to dial down the treble a little more on the ax before EQing. That should bring you a lot closer. I'm not partial to anything Fender personally - I've had them and think a big part of their street cred is because many of them were in the hands of name players at a very evolving time for electronic music. Those guys didn't have nearly as many good choices as we do today.
 
#51
edpal said:
I agree but also think you will never get a Jazz to cut through like a MM. For recording purposes you might want to lower your bridge pickup on the MM(if going for a jazz sound) and then you can try to dial down the treble a little more on the ax before EQing. That should bring you a lot closer. I'm not partial to anything Fender personally - I've had them and think a big part of their street cred is because many of them were in the hands of name players at a very evolving time for electronic music. Those guys didn't have nearly as many good choices as we do today.
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I think people record with passive Fenders because they sound really good recorded.
 
#52
I don't like jazz basses the best soundwise in any situation.. I just always find something fitting in the mix better. I guess its their thin sound when pup's soloed and clanky and kind of "weird" midrange punch when both pickups on.
 
#53
edpal said:
I agree but also think you will never get a Jazz to cut through like a MM. For recording purposes you might want to lower your bridge pickup on the MM(if going for a jazz sound) and then you can try to dial down the treble a little more on the ax before EQing. That should bring you a lot closer. I'm not partial to anything Fender personally - I've had them and think a big part of their street cred is because many of them were in the hands of name players at a very evolving time for electronic music. Those guys didn't have nearly as many good choices as we do today.
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LOL..none of this is true - especially the first part.
 
#56
Digital Man said:
I don't like jazz basses the best soundwise in any situation.. I just always find something fitting in the mix better. I guess its their thin sound when pup's soloed and clanky and kind of "weird" midrange punch when both pickups on.
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I think you might have this a bit backward. Pups soloed tend to be more midrangy while both together will slightly scoop the sound. However the first part can make sense for some people. You may just not have that "jazz bass" tone in your head. Totally fine. However, in the studio they work very well. Personally I am more of a P-Bass guy, but I've done plenty of sessions with a Jazz.
 
#57
edpal said:
Since I started with "I think" it has nothing to do with truth - it's an opinion. But sensible rebuttal is always welcome.
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You said a MM "cuts through" better than a J Bass. I am not sure if I need to explain why saying 1 bass "cuts through" better than another is a silly statement, but feel free to let me know if you need clarification.
 
#58
AngelCrusher said:
You said a MM "cuts through" better than a J Bass. I am not sure if I need to explain why saying 1 bass "cuts through" better than another is a silly statement, but feel free to let me know if you need clarification.
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MAybe silly to you, not silly to me. I think if you were to grab both those basses and set the EQ flat on the amp the MM has a naturally brighter tone, mainly due to the pickups.

I realize you like the Jazz bass and I am not saying it is bad in any way, just that I am of the opinion it takes a little more tweaking to get the same cut through the mix quality as some others, particularly the MM. MAybe the MM would sound to shrill on a recording - haven't tried it so I have no opinion.

Sensible rebuttal please....anyone can cackle.
 
#60
Hang on, so you have never used the MM on a recording but you are saying that the MM will cut through a mix better? I have used both, plenty of times.

When you say "cut through a mix". What mix exactly? Are all mixes the same? Are you saying because the MM is brighter to you in a high frequency that means it "cuts" through everything better to you?

You are saying I am cackling? lol, not sure what that means. Sorry man, but you don't even have experience recording with both of these basses. It really is eye opening how some basses record a heck of a lot better than you think when you use them in a session.

They BOTH record rather well, but the active pickups in a MM can work against the engineer and and the song sometimes, which is why the Fenders are still the top choice in the studio.

Judging a bass by hearing it solo or just thinking the brighter tone will cut better is a fast track to not having a good tone in the studio.
 

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