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Jazz or Precision?

Two pages in before this came up? The old punkers' reflexes are slowing down, I guess...

I stopped "schooling the youngins" after a party ten years ago when I interrupted a 20-something's playlist to expose him to The Clash and "London Calling."
Once my touted selection was playing, I was dismayed to find that the Clash's recording sounded somewhat thin compared to the beefy hard rock and power punk on the kid's playlist. The relative differences in the 'width' of the tracks were largely down to advances in recording, mastering, and the movement toward greater volume that began in the 90's; nevertheless, I might as well have thrown on some Benny Goodman, considering the overall impact on the party.

The same night those kids played me some "oldies" of their own -- freestyle raps by the late Biggie Smalls, who had already been dead nearly a decade at that point.
The freestyles were amazing.
My schooling was complete.
 
Oh but the technique horror! HIS THUMB IS WRAPPED AROUND THE NECK! Novice...

I'm seeing Elvis's thumb atop the neck in this frame too. Oh well, at least he was consistent.

Elvis_Presly2_t607.jpg
 
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I moded my jazz bass to have a Series/Paralel switch. When its in series, althought it offers more punch, the sound isn´t equal to a Pbass but still is a good option to have two basses in one.

So I've been debating doing the series/parallel switch on my jazz for quite a while now and this thread pushed me to try it out. 30 minutes later and I'm wondering why this isn't a standard wiring schematic on Jazz-style basses? Holy crap! Thick, creamy, and punchy with just enough of that Jazz edge to remind you that it is indeed a Jazz you're still playing.

To tie this back to the thread, I'd play both styles because everyone is right, in a rock/punk/loud music setting, the P is going to punch through the best. If, however, you're like me and that slightly thicker neck on a P prevents it from ever being THAT bass for you, a Jazz with this mod will sit in the mix quite nicely and give you some good tonal flexibility if you ever end up playing in different types of bands/groups.

I wired mine into the tone control. Here's a pic with the pot pulled out for series:

FullSizeRender 18.jpg
 
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More Elvis technique: for a fat, round tone, pluck the strings well up the neck, around the 15th fret.
And for god's sake, keep that other thumb wrapped around the neck!

View attachment 675052

To me it looks like he's tapping. What a visionary! Who knows, he might have turned into a real Chapman Stick whiz...

(...sorry/not sorry to hijack your thread, 2000s pop punk dude...)
 
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To me it looks like he's tapping.

LOL - good eye, there.

Elvis was an electric bass innovator. Some of the things he did with the instrument have yet to be replicated.
Check out this clip, wherein he plays without a strap.
The video clip also neatly illustrates Elvis's belief that bass guitar is best in pop when used selectively and intermittently in a song.
Sid Vicious is the only other player I can think of who played less notes, or sat out more verses altogether, awaiting a familiar point of the song
to jump back in. Respect.

 
So I've been debating doing the series/parallel switch on my jazz for quite a while now and this thread pushed me to try it out. 30 minutes later and I'm wondering why this isn't a standard wiring schematic on Jazz-style basses? Holy crap! Thick, creamy, and punchy with just enough of that Jazz edge to remind you that it is indeed a Jazz you're still playing.

To tie this back to the thread, I'd play both styles because everyone is right, in a rock/punk/loud music setting, the P is going to punch through the best. If, however, you're like me and that slightly thicker neck on a P prevents it from ever being THAT bass for you, a Jazz with this mod will sit in the mix quite nicely and give you some good tonal flexibility if you ever end up playing in different types of bands/groups.

I wired mine into the tone control. Here's a pic with the pot pulled out for series:

View attachment 675056

The series/parallel switch is indeed a great function. However, in terms of making it a mainstay on all instruments, I'd counter
that Fender attempted just that with the much-loathed S-1 switch. There were a few fans, of course, but the majority hated the feature.
 
The series/parallel switch is indeed a great function. However, in terms of making it a mainstay on all instruments, I'd counter that Fender attempted just that with the much-loathed S-1 switch. There were a few fans, of course, but the majority hated the feature.

I wasn't aware there was such resistance to it. Seems an odd thing to get whipped up about considering it doesn't affect the standard parallel wiring schematic if not engaged.
 
I wasn't aware there was such resistance to it. Seems an odd thing to get whipped up about considering it doesn't affect the standard parallel wiring schematic if not engaged.

I believe the s-1 switch was perceived to be less durable than the standard pots, which stands to reason, considering it was a more complex mechanism; but I don't think it was by any means faulty, or prone to failure. And you are of course right that one has the choice to simply bypass the option. No, I think the real consumer resistance went to the fact that the majority of instrumentalists favor the old-school and are suspicious of new developments (at least when said developments are attached directly to the plank -- pedal boards and rigs are a different matter). The fact that Gibson is scrambling to consolidate after the massive disaster of their failed roll-out of onboard tuners is further evidence that guitar fans are not typically hot for radical rethinks.
 
Now there's a bass i'd like to get my hands on. Being named a "Jazz" does it have the 1.5" jazz neck. If so I think i'm in love.

The Blacktop Jazz is basically a Mexican-made Jazz bass. The only differences are the Precision pickups and the high-mass bridge. The red dye-job along the pickguard was my own contribution.

There is a Blacktop Precision which follows in the same footsteps…an MIM P with different pickups and bridge.

And yes, this thing is a Thunderous Beast which demands your love!

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True story…the first time I got to try one out, that first open E-string hit literally had me do a double-take. I was mondo-beyondo-impressed! (See this? :wideyed: That was my face!) When I finally got my own, I unboxed it at the store, plugged it in to test it and someone twenty-five feet away did the exact same double-take! ;)

Sadly, they've been discontinued, so unless a retailer has some extra stock floating around, it's likely the only way you'll get one is used. Once I heard that news, I started seeking out it's White Chrome Pearl twin. Fortunately, I found a mostly-loaded body from a fellow TB'er who was just local enough that we could meet, cash at the ready, and dispose of all that shipping-hulabaloo. I plan on turning it into a tribute to the Pearl White, '80s-era Fender Japan Jazz Bass Specials, same as the one Duff McKagan bought to record "Appetite For Destruction" on. (3-way switch, TBX tone circuit, black hardware, etc…)