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

[JimmyM]

I get that passive Fenders are preferred, largely since they have been the most popular basses and most familiar to engineers and ultimately listeners.

Nope.

Also, their fundamental tone is so straightforward, it makes is easy to make adjustments in the mix.

Yeah, that's the real reason.

What I dont get is the notion that because MM's have active EQ that makes it so much more difficult. Of course if a player turns the EQ all the way up (I challenge anyone to pick up a MM at GC that isn't set this way when you plug it in) then there's a potential problem but I think generally most player boost or cut a little of eq as needed.

On my SR5, I usually boost a bit of bottom, then make slight adjustments to mids as treble as needed. It sounds and records really nicely - just like my jazz and PBasses! Any engineer who knows what they are doing should be able to record and EQ the MM to sound good.

Of course. But that doesn't mean they're going to like it.

 

[Jbass4me]

I say play whatever your comfortable with..Let the engineers do their jobs and work the magic.....

 

[edpal]

Active pickups are best because I say so....

This thread is so off the track - maybe we should find out if the OP is using 4 string or 5, just to inject more excitement.

 

[jmcorn]

I have a American jazz dlx5 and a SR 5HH. 95% of the time I play the Fender. Mainly for the playability of it and not necessarily for the tone.

 

[Pinta]

Thank you again forr all tue answers!

I have small hands. So im loving tye playability the jazz gives me. Im wondering what wil happen when i tackle the MM again in 2 months for all the shows after the album is released. We even have a 5 gig tour planned!


Sorry for typos.. Posting from a phone

 

[bluesblaster]

I was once asked to play a precision bass that belonged to the studio instead of the bass I had brought. There reasoning was that they had used that bass on alot of stuff and knew what tone they would get. I obliged them, it was a crappy playing bass IMO, so we did the track, I thought the bass sounded awful, all clanky and raw, but thats what they wanted and thats what they got. I got paid and never heard that song again.

 

[king_biscuit]

I get that passive Fenders are preferred, largely since they have been the most popular basses and most familiar to engineers and ultimately listeners. Also, their fundamental tone is so straightforward, it makes is easy to make adjustments in the mix. What I dont get is the notion that because MM's have active EQ that makes it so much more difficult.

It's not just the preamp, it is also the type of pickup (parallel humbucker) and bridge favored pickup location.

 

[taurus1]

it's a myth that producers/engineer prefer P's or J's because "it's easy", they prefer them because they want a certain sound.
it's a classic sound, like a Rhodes or B-3.
there's a time and a place for an active Stingray or other such bass and that's up to the parties involved to decide, when and where.
Stingrays have been around so long they they too are now a classic, they fit a different aesthetic and timeline though.
anyone old enough that's been around, can pidgeonhole that tone from 76-77 forward.
passives have definitely been way more popular for well over a decade though, imo.

it has everything to do with a finished product, nothing to do with ease of fitting into a mix.
I'm a big fan of Stingrays btw.

 

[AngelCrusher]

it's a myth that producers/engineer prefer P's or J's because "it's easy", they prefer them because they want a certain sound.
it's a classic sound, like a Rhodes or B-3.
there's a time and a place for an active Stingray or other such bass and that's up to the parties involved to decide, when and where.
Stingrays have been around so long they they too are now a classic, they fit a different aesthetic and timeline though.
anyone old enough that's been around, can pidgeonhole that tone from 76-77 forward.
passives have definitely been way more popular for well over a decade though, imo.

it has everything to do with a finished product, nothing to do with ease of fitting into a mix.
I'm a big fan of Stingrays btw.

I disagree with that. I sold my last jazz bass to a modern metal producer who makes very big metal records and he specified how easy it was to fit the bass into a mix.

He is not going for a classic tone at all.

That is one of many experiences for me as a session player.

Modern Bass gets processed a lot with compression and limiting, plus EQ. The Fender tone sits in the mix real nicely and then you can compress it hard if you want and it sits in there even better.

The reason engineers like it is because they can do magic with that tone and keep it slotted in a nice region in the mix.

It does not mean its the only bass you can record with, but it is by far the most recorded bass still to this day, even in modern music.

You can get a variety of sounds with these basses if you know what you are doing and the engineer knows what he is doing. There is no one, "classic sound" they are all going for.

 

[jpizzay]

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!

That's the spirit! You got the right attitude.

 

[dkelley]

Then secretly go in and retrack it all on the ray at 5am...

 

[Shedua511]

I concur that a P and a J work very well for recording, and I've used both on many occasion, but there is also a psychological aspect to it.

On one occasion I have also been asked to play the studios P after tracking with my bass (I used a David King custom bass, iirc). I obliged of course and the producer was delighted with the result... only thing is that they unknowingly kept the original track!
He was all "Listen to that! Listen to that! The P bass!!!", but I could clearly hear that it was the David King, because the intonation on their P bass was way off in the higher register and the track they were playing was in tune...

Incidentally, I offered to fix the intonation when I found out it was off but they refused because the would mean to interfere with the instruments mojo

 

[taurus1]

I disagree with that. I sold my last jazz bass to a modern metal producer who makes very big metal records and he specified how easy it was to fit the bass into a mix.

He is not going for a classic tone at all.

That is one of many experiences for me as a session player.

Modern Bass gets processed a lot with compression and limiting, plus EQ. The Fender tone sits in the mix real nicely and then you can compress it hard if you want and it sits in there even better.

The reason engineers like it is because they can do magic with that tone and keep it slotted in a nice region in the mix.

It does not mean its the only bass you can record with, but it is by far the most recorded bass still to this day, even in modern music.

You can get a variety of sounds with these basses if you know what you are doing and the engineer knows what he is doing. There is no one, "classic sound" they are all going for.

maybe it is easier for some engineer/producers to make it fit into the mix, it's that's the sole reason why they want to use certain basses, they are the wrong reasons for me, I wouldn't have much respect for them.
that's like saying, "it's easier to replace all the drums with samples".
again, no thanks, not my kind of producer.

 

[edpal]

Sometimes in the midst of these threads where strong opinions are being thrown down as gospel I stop, look around, and realize, "wow, this person has nothing I can reference to give their post credence - no links to a song they play on, no links to a website, nada. It's 2013 - the 'Net is your answering machine. Sayin.

 

[AngelCrusher]

I have posted links to sessions I have done since you are clearly coming at me.

You can PM me anytime for questions, but since I have seen how you attack and stalk others in threads, I don't really feel the urge to be that forthcoming, especially since the info I am sharing is pretty much common knowledge.

If you don't want to believe what I am posting, that is fine. It's not a big deal to me.

 

[AngelCrusher]

maybe it is easier for some engineer/producers to make it fit into the mix, it's that's the sole reason why they want to use certain basses, they are the wrong reasons for me, I wouldn't have much respect for them.
that's like saying, "it's easier to replace all the drums with samples".
again, no thanks, not my kind of producer.

I think a lot of people are confusing a session player's bass of choice with a band members. It is not the same thing. Band members who can play usually have a nice bass tone in the studio. They still may try the house bass on tracks..it varies.

But the OP is in a hired gun situation right now. It is a different game. The music has been written and arranged and they already have a concept. This is a typical studio situation where you need the versatility to fit into any song.

It's a different concept, and different situation.

Let me put it to you like this - In a studio session like the OP's, nobody cares what the wrong reasons are for you. It doesnt matter. The OP sees this and is doing the right thing. This is how you make a career out of playing. Not everything is going to be suited around what the bass player wants. In fact, in the world of major label rock music, basically nothing is. The faster you get that, the faster you get more work. IF you are interested in that line of work. If not, no biggie.

 

[Salamenster]

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.

It's actually a midrange scoop with both pickups on.

 

[SoLongJake]

I think a lot of people are confusing a session player's bass of choice with a band members. It is not the same thing. Band members who can play usually have a nice bass tone in the studio. They still may try the house bass on tracks..it varies.

But the OP is in a hired gun situation right now. It is a different game. The music has been written and arranged and they already have a concept. This is a typical studio situation where you need the versatility to fit into any song.

It's a different concept, and different situation.

Let me put it to you like this - In a studio session like the OP's, nobody cares what the wrong reasons are for you. It doesnt matter. The OP sees this and is doing the right thing. This is how you make a career out of playing. Not everything is going to be suited around what the bass player wants. In fact, in the world of major label rock music, basically nothing is. The faster you get that, the faster you get more work. IF you are interested in that line of work. If not, no biggie.

In the first post he says his band is going in to a studio. Not sure where you picked up the paid session work.

 

[taurus1]

I think a lot of people are confusing a session player's bass of choice with a band members. It is not the same thing. Band members who can play usually have a nice bass tone in the studio. They still may try the house bass on tracks..it varies.

But the OP is in a hired gun situation right now. It is a different game. The music has been written and arranged and they already have a concept. This is a typical studio situation where you need the versatility to fit into any song.

It's a different concept, and different situation.

Let me put it to you like this - In a studio session like the OP's, nobody cares what the wrong reasons are for you. It doesnt matter. The OP sees this and is doing the right thing. This is how you make a career out of playing. Not everything is going to be suited around what the bass player wants. In fact, in the world of major label rock music, basically nothing is. The faster you get that, the faster you get more work. IF you are interested in that line of work. If not, no biggie.

we're on the same page here, I completely agree.

 

[AngelCrusher]

we're on the same page here, I completely agree.

Nice.

And to the other poster, the OP said this as well :

http://www.talkbass.com/forum/f8/i-advised-use-jazz-bass-help-999113/index2.html#post14587413

Which is why I said what I did. If you move to a job-like band situation with a producer and manager, that usually means you want to do this for a living, which usually means you will need to be flexible and able to work with as many people as possible.