It's not our fault that the OP has asked the wrong question!!
He asked about effects. BG vs DB battling belongs... somewhere else
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jazz effects
- Thread starter hazzardzboy
- Start date
He asked about effects. BG vs DB battling belongs... somewhere else
He asked about "effect" - everybody knows you are going to have the best effect, by using DB for Jazz!!
What kind of jazz? Multiple styles? If so, what styles?
Getting you started:
1. Good Bass/Amp/Speaker Tone
2. Compression
Hmmm, like the other guys I will say to get your basic tone and feel right b4 you start adding efx to the mix. A lot depends on your music and band and what you can and cannot get away with, lots of jazz players are pretty stuck in the mud about bass and other bass players are the worst, admit it brothers.
My main jazz gig these days is my own band so perhaps I am not the best example. We go from very traditional standards and ballads to funkier stuff as well as a few originals. Personally I use a rounder less trebly sound just rolling back the tone controls, add a bit of room reverb to add some 'air' and also at times will use some chorus. For melodies & solos I sometimes use a pitch shifter up an octave or 2 and funky tunes & such it's no holds barred and at times the freakier the better.
I think that P sounds amazing.... sometimes I feel that a P + Flats (real dead ones) - Frets + Good technique could sound kinda LIKE (not the same) as an UP, but well to each his own
I love the sound of an upright bass, but few players have the luxury of touring with two electrics and an upright. For pure flexibility, an electric is often the single best choice.
Flats on a P sounds awesome. It sounded awesome 50 years ago and it sounds awesome now.
Flats on a P sounds awesome. It sounded awesome 50 years ago and it sounds awesome now.
That sounds nothing like an upright!
A little sloppy with my wording. I didn't mean to give that impression.
My take was that for jazz I like the extremes - either an upright tone or a really zingy, modern electric tone. I'd like his tone for R&B or funk though.
Well there's nothing wrong with liking the bright zingy tone. I used it for decades and still do if the music I'm playing calls for it. But the Precision/flats tone is still a very valid and well-loved approach to jazz. That was my only beef with what you said. It doesn't work for you, but it works and it works great.
Not in any significant numbers, but occasionally they do.People still listen to jazz?
I don't know, bro...this is pretty convincing evidence
I think a P bass with flats and the right technique can get a better sound for that stuff than an EUB. This clip is evidence.
That's for sure. We're trying like crazy to build/develop/create a jazz audience where I live and it's very challenging.
I play my Musicman Sterling in my jazz band and my instructor complimented my tone when I left both pickups on by rolled off some treble. You don't need to tear through the entire ensemble and sometimes it's nice to just sit back, walk your lines, and let the horn section and drummer with no restraint do the work (<--sorry, bad experiences with my band's drummer...)
But to be on topic, I don't run any effects. I find compression robs me of some dynamics I use to play like accents and such.
But to be on topic, I don't run any effects. I find compression robs me of some dynamics I use to play like accents and such.
+1
Same for Music Man vs P-bass and flats for fat tones and roundwounds for zingy -- take it to another thread.
OP wants EFFECTS DAGNABBIT!
To that effect...
The most popular effect for jazz is already mentioned by the OP, almost like he answered his own question. I put it in bold above for the sake of clarity.
The number one effect for jazz, bar none, is indeed the phraser.
I hear jazz cats talking endlessly about phrasing. In fact, they talk about it so much you'd think a phraser was the be-end-all jazz effect, period (full-stop). Personally, I don't play jazz myself, not yet, but when I do I won't worry about phrasing, I'll just use a flanger...
