is a pbass better for reggae than a jazz?

[Drifta]

"theres a million ways to skin a cat"

 

[Marcury]

I tried to answer the same question. Hmmm...

If it's any consolation your last post showed up while I was making mine.

 

[MtManiac]

"theres a million ways to skin a cat"

Eeeewwww - has someone counted them all??

 

[Ten Four One]

The condescenion is the key, as is the air of elitism by somehow inferring that the instrument itself doesn't have much of a role once a person reaches a certain level. Even the best players have very definite preferences for instruments and how they fit in particularly genres. Everyone I've met cleary has an opinion on what instruments generally fits best where, so pretending it doesn't here and telling those who are generally curious to just not worry about isn't very practical IMHO. Look at the number of basses in your sig. Why not just keep the Squier and throw the others out if it's not important.

+1

Musicianship is surely #1, but I find some basses nearly unplayable in certain situations and others fit perfectly. But then, I'm sure I'm the only one in the band who notices. I met a bass player (who shall go nameless) sitting in a session with a Sadowksy and an Acoustic Image amp (which weighs like 2 ounces) and his gear was the subject of much discussion. When he finally said "but the tone is all in here" - wiggling his fingers around, I said "So then why do you use that gear?" - he had no answer.

FWIW, IMHO a J is a more dub bass than a P. It has a deeper sound than the P's characteristic mid rage bump. To me the ultimate J bass sound is Dazed and Confused by led zep. Ga-doong, doong, doong doong. As opposed to the buzz of James Jamerson's P'.

A Tele - the one with the big-ass humbucker right near the fretboard is probably the ultimate dub bass, but it may be a bit too tubby & loose. The bass player from Travis gets a killer sound out of his, though.

That said, I'd never buy a bass I didn't try in the store & fall in love with. It's not "is it a P or a J?" It's - do I love it? Does it inspire me? And then I drag different basses to different gigs - though my Franken-J has been my main monster for a while now, though I *always* play the P at home.

The variation from one Fender to another, or one G&L to another is enough to make me know that each bass has its own individual chemistry and *that's* what I'm after.

 

[ForestThump]

Someone once told me that sometimes reggae bass players recorded with cotton gloves on to mute the sound. Anyone else hear of this?

 

[air_leech]

it's hard to see beyond the brand names.
I've played, owned and own all sorts of basses but to this date the only bass that really works for me is the Fender P and it gets me the tone I want 90 percent of the time.

frankly I never seen anyone in a gig or a store get a tone I like out of a Jazz Bass but there are lots of players who used them on recordings and got great tone.

bottom line - find the bass that puts out the tone you like and stick to it. you dont need the exact same bass the cats in the records use.

 

[EnderZ13]

in a word... yes

in two words... yes yes....

wanna go even farther?... stick some d-adarrio chroms on there... i appologize fr my spelling

A P bass is better for anything than a J bass

Yes, the P will give you a nice Reggae thump.

They have said it all

 

[Ten Four One]

frankly I never seen anyone in a gig or a store get a tone I like out of a Jazz Bass but there are lots of players who used them on recordings and got great tone.

bottom line - find the bass that puts out the tone you like and stick to it. you dont need the exact same bass the cats in the records use.

Taste is largely a personal thing, but I feel that for a LONG while Fender was putting out really mediocre stuff. I hear their line is better now, but I haven't tried a new Fender in years.

This is why I always recommend trying the bass in person & not making decisions based on brands and styles - two consecutively numbered (SN#) basses can sound very, very different.

My next planned bass purchase is the new dual humbucker Music Man basses. Not as good as my trusty '78 Sabre, but excellent basses overall. After that, maybe a Sadowsky.

 

[BurningSkies]

The layout is this...

All the time people get on here and ask the "what bass do I need to play reggae" question. Time and time again, they get a completely dogmatic reply, telling them to use a Jazz bass.

The reality is that much like 'rock' music (keep in mind, the history of Jamaican popular electric music (ska, rock steady, Roots, dub, dancehall, etc) is only a few years short of rock's timeline) there is no one answer, no one better bass. It reduces reggae to a simple formula, which is not what reggae is.

My formula for MY sound (and there are just as many individual reggae tones out there) is to be low, clean and clear. For me that's my Dingwall. It speaks with an authority that shorter scale basses lack and doesn't get lost in 'boom'. My whole sound is based upon being able to remain clean low and loud and to make sure I can be not only heard but understood on both sides of the stage. I also want fast response. If I'm playing something inna dancehall style or a fast Roots Radics style yardie groove, I need to have punch and attack. I don't want bloom and boom for that sound.

Now, If you go and see Yellowman, or if you go and see the Itals, or Third World, or Steel Pulse, or even if you see a modern touring band backing some dancehall star of the moment, you see a bunch of rigs, basses and tones.

Unfortunately in our rock-centric culture, most people, including players, don't differentiate, because they're locked into the 'rock tone'.

Jamaica in the 60's, 70's, 80's and even now isn't a place of picky gear-heads. There's not the cash to be picky, and in most cases, many of the classic body of jamaican music is played by those without much skill or experience. There are 5 or 6 players who have rised to the top, and those are the names everyone keep shouting.

I don't read the "its not your bass its your playing" as a putdown. I read it as a few simple steps to learning the basics of a style will go a long way. I shall never be a monster player, but I like to think that I do one thing pretty well. I also have pretty much lived in the deep end of the pool for Jamaican music for a long time and that tends to rub off.

People around here always think that a new bass, amp, cab, etc. is going to solve their problems. Do you notice how many time people end up flipping that new stuff? Because it wasn't their bass that was the problem...you can't run from yourself. You'll sound like you no matter what you're playing on and through.

When I've show up to play shows, jam, and hang with either islanders or africans, they've never paid the least attention to the type of bass or amp I have. Ever. That goes for internationally known touring bands to guys who play in basements. When I show up with my Dingwall, they don't give it a second look, nor with my P or my Jazz or my PRS, which is supposed to be one of the 'grail' reggae basses.

Of course, the only real way to learn the style is to listen, listen, listen. and play. More importantly DON'T just listen to records. Reggae is live music and recorded reggae is about 5% of the magic. Until you see a few truly great bands live it won't make sense, even if you think it does.

BTW, big thanks to BFB, who's the player I'll never be. A true monster.

 

[Drifta]

The layout is this...

All the time people get on here and ask the "what bass do I need to play reggae" question. Time and time again, they get a completely dogmatic reply, telling them to use a Jazz bass.

The reality is that much like 'rock' music (keep in mind, the history of Jamaican popular electric music (ska, rock steady, Roots, dub, dancehall, etc) is only a few years short of rock's timeline) there is no one answer, no one better bass. It reduces reggae to a simple formula, which is not what reggae is.

My formula for MY sound (and there are just as many individual reggae tones out there) is to be low, clean and clear. For me that's my Dingwall. It speaks with an authority that shorter scale basses lack and doesn't get lost in 'boom'. My whole sound is based upon being able to remain clean low and loud and to make sure I can be not only heard but understood on both sides of the stage. I also want fast response. If I'm playing something inna dancehall style or a fast Roots Radics style yardie groove, I need to have punch and attack. I don't want bloom and boom for that sound.

Now, If you go and see Yellowman, or if you go and see the Itals, or Third World, or Steel Pulse, or even if you see a modern touring band backing some dancehall star of the moment, you see a bunch of rigs, basses and tones.

Unfortunately in our rock-centric culture, most people, including players, don't differentiate, because they're locked into the 'rock tone'.

Jamaica in the 60's, 70's, 80's and even now isn't a place of picky gear-heads. There's not the cash to be picky, and in most cases, many of the classic body of jamaican music is played by those without much skill or experience. There are 5 or 6 players who have rised to the top, and those are the names everyone keep shouting.

I don't read the "its not your bass its your playing" as a putdown. I read it as a few simple steps to learning the basics of a style will go a long way. I shall never be a monster player, but I like to think that I do one thing pretty well. I also have pretty much lived in the deep end of the pool for Jamaican music for a long time and that tends to rub off.

People around here always think that a new bass, amp, cab, etc. is going to solve their problems. Do you notice how many time people end up flipping that new stuff? Because it wasn't their bass that was the problem...you can't run from yourself. You'll sound like you no matter what you're playing on and through.

When I've show up to play shows, jam, and hang with either islanders or africans, they've never paid the least attention to the type of bass or amp I have. Ever. That goes for internationally known touring bands to guys who play in basements. When I show up with my Dingwall, they don't give it a second look, nor with my P or my Jazz or my PRS, which is supposed to be one of the 'grail' reggae basses.

Of course, the only real way to learn the style is to listen, listen, listen. and play. More importantly DON'T just listen to records. Reggae is live music and recorded reggae is about 5% of the magic. Until you see a few truly great bands live it won't make sense, even if you think it does.

BTW, big thanks to BFB, who's the player I'll never be. A true monster.

very well said... and i agree 100000 million % on the live part... man at the place i saw the ochestra and their live band that had Dean fraser and 4 other horns players, 2 awesome keys, awesome rhythm section. plus the 20-30 person emsemble it was a WONDERFUL musical experience i'll carry with me forever. John holt and Freddie mcgregor put on an amazing show... one of my favorite i've seen... Should have seen me and my buddies it was funny we stuck out like sore-thumbs- or should i say skanking thumbs as we showed up in our rude bwoy slack style flip flops and plaid everyone else had suits haha

 

[Eublet]

No one is disagreeing with the need for many to focus on their playing and getting a feel for the music. But gear discussions have a place, and degrading someone by calling their conversation noobish or nazi-ish doesn't help anyone. Be constructive with degrading someone else's questions. New players might not understand what they are asking, and the more experience plays should be here to help and provide constructive advice. That's the bottom line.

 

[Dig Wilbur Ware]

Since the Original Post has been thoroughly addressed, and as someone quoted Familyman's "Think upright," is anybody playing Jamaican-style Earth Tone bass lines on a fretless?
And who prefers the open boom of a hollow-body?

 

[I Am the Walrus]

Just play whatever you like. The notion that you can only use certain basses for certain genres is ridiculous.

 

[bigfatbass]

Just play whatever you like. The notion that you can only use certain basses for certain genres is ridiculous.

FTW


To be clear, since there seems to be a misunderstanding, my response was directed at the ridiculous "gotta use x" respondents and not to the original poster. There is not a single thing I said that is not true, nor is there anything noobish about the question. Telling him "you gotta have a J 'caus x, y, and z used one" is however extremely noobish, and I said so. I did not "degrade" the OP. Please, pick another windmill.


A huge number of the active participants here, as displayed by dozens of polls over the years, don't really play out or even with others all that much. Yet, they spend endless hours arguing over micro tonal adjustments that dogs can't hear, and nit-picking the +/- points of coffee tables with strings.

This is all fine, and part of the charm of this place. But, that being said, I think a bit of a thicker skin would be a good idea. No one is kicking a puppy for crissakes.

 

[MtManiac]

The layout is this...

All the time people get on here and ask the "what bass do I need to play reggae" question. Time and time again, they get a completely dogmatic reply, telling them to use a Jazz bass.

The reality is that much like 'rock' music (keep in mind, the history of Jamaican popular electric music (ska, rock steady, Roots, dub, dancehall, etc) is only a few years short of rock's timeline) there is no one answer, no one better bass. It reduces reggae to a simple formula, which is not what reggae is.

My formula for MY sound (and there are just as many individual reggae tones out there) is to be low, clean and clear. For me that's my Dingwall. It speaks with an authority that shorter scale basses lack and doesn't get lost in 'boom'. My whole sound is based upon being able to remain clean low and loud and to make sure I can be not only heard but understood on both sides of the stage. I also want fast response. If I'm playing something inna dancehall style or a fast Roots Radics style yardie groove, I need to have punch and attack. I don't want bloom and boom for that sound.

Now, If you go and see Yellowman, or if you go and see the Itals, or Third World, or Steel Pulse, or even if you see a modern touring band backing some dancehall star of the moment, you see a bunch of rigs, basses and tones.

Unfortunately in our rock-centric culture, most people, including players, don't differentiate, because they're locked into the 'rock tone'.

Jamaica in the 60's, 70's, 80's and even now isn't a place of picky gear-heads. There's not the cash to be picky, and in most cases, many of the classic body of jamaican music is played by those without much skill or experience. There are 5 or 6 players who have rised to the top, and those are the names everyone keep shouting.

I don't read the "its not your bass its your playing" as a putdown. I read it as a few simple steps to learning the basics of a style will go a long way. I shall never be a monster player, but I like to think that I do one thing pretty well. I also have pretty much lived in the deep end of the pool for Jamaican music for a long time and that tends to rub off.

People around here always think that a new bass, amp, cab, etc. is going to solve their problems. Do you notice how many time people end up flipping that new stuff? Because it wasn't their bass that was the problem...you can't run from yourself. You'll sound like you no matter what you're playing on and through.

When I've show up to play shows, jam, and hang with either islanders or africans, they've never paid the least attention to the type of bass or amp I have. Ever. That goes for internationally known touring bands to guys who play in basements. When I show up with my Dingwall, they don't give it a second look, nor with my P or my Jazz or my PRS, which is supposed to be one of the 'grail' reggae basses.

Of course, the only real way to learn the style is to listen, listen, listen. and play. More importantly DON'T just listen to records. Reggae is live music and recorded reggae is about 5% of the magic. Until you see a few truly great bands live it won't make sense, even if you think it does.

BTW, big thanks to BFB, who's the player I'll never be. A true monster.

Amen brother. You said it all, right there!

 

[I Am the Walrus]

FTW


To be clear, since there seems to be a misunderstanding, my response was directed at the ridiculous "gotta use x" respondents and not to the original poster. There is not a single thing I said that is not true, nor is there anything noobish about the question. Telling him "you gotta have a J 'caus x, y, and z used one" is however extremely noobish, and I said so. I did not "degrade" the OP. Please, pick another windmill.


A huge number of the active participants here, as displayed by dozens of polls over the years, don't really play out or even with others all that much. Yet, they spend endless hours arguing over micro tonal adjustments that dogs can't hear, and nit-picking the +/- points of coffee tables with strings.

This is all fine, and part of the charm of this place. But, that being said, I think a bit of a thicker skin would be a good idea. No one is kicking a puppy for crissakes.

My post wasn't even directed at you.

 

[Drifta]

Since the Original Post has been thoroughly addressed, and as someone quoted Familyman's "Think upright," is anybody playing Jamaican-style Earth Tone bass lines on a fretless?
And who prefers the open boom of a hollow-body?

I think my next bass will be a jack cassidy epiphone with some tapewounds!

 

[BurningSkies]

Since the Original Post has been thoroughly addressed, and as someone quoted Familyman's "Think upright," is anybody playing Jamaican-style Earth Tone bass lines on a fretless?
And who prefers the open boom of a hollow-body?

If you look at Marcus from the Slackers, he plays vox hollow body basses. If you haven't checked the Slackers, they're a fine roots band that's been pigeon-holed as a ska act that does some really heavy grooving.

I played a fretless for a few years when I was playing mostly 60's Rock Steady and Reggae. It was mostly an attempt to replicate some of the sound and feel of what was being played in Jamaica in the 60's rather than what most people here think of...

I haven't gone hollow, but if you ever got a chance to see Skavoovie in the mid-90's, their bass player did tour with an upright along with a mid sixties Precision that belonged to Victor Rice.

Speaking of which, he's a killer upright player and a great electric player. You can hear him do both on the first Scofflaws album as well as the stuff done by the New York Ska-Jazz Ensemble.

Of course, Lloyd Brevett is still playing and touring. He's playing an electric upright and kills it every night. The man's grooves are deeper than anyone else's. And yes, he's the originator of the roots reggae feel.

 

[BassieMike]

As mentioned before, it's not the instrument, or the strings, it's technique and attitude. I've used a P with nylon tape flats, a Sadowsky 5 J with flats, and a Steinberger N2 with rounds. They all work fine. The common theme was roll the tone all the way off. Like Fams, allow a bit of extra relief in the neck to allow firm technique without rattle. It's a bit more work, but the tone is worth it.

 

[Mr.Bassie720]

A lot of great advice here. Technique and feel are crucial as is good equiptment. I feel that most of what has been said was motivated by a desire to be true to the music. My formula was 3 8x10 cabinets 2 Ampeg heads a subharmonic synthesizer a compressor and a jazz type bass with rounds real gentle touch. I used this setup even for small gigs and it put people on the dancefloor.