knarleybass
Commercial User
I tried it on my LEJ and a few other basses, to be honest, I found that there is a significant drop in output between Series and Parallel, I wound up only using the Series positions because of the hot output.
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Low End Jazz Megathread, post pics and soundbites!!
- Thread starter caesarbass
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I tried it on my LEJ and a few other basses, to be honest, I found that there is a significant drop in output between Series and Parallel, I wound up only using the Series positions because of the hot output.
Thanks Knarley. Sonically I'm pretty familiar with the series/parallel difference. I use series sometimes to boost output on a passive bass if I haven't the time or chance to get back to my amp, or just for more of a rounder middy rock tone.
With an active bass, you can boost the preamp a bit for more output or beef, but I also use the LEJ a lot in passive (my entire last show, in fact) so then series might come in handy.
So, mostly I'm just wondering how the toggle pots/knobs hold up over time.
Thanks. Anyone else?
- Anyone got more than 2 LEJ's ?
With an active bass, you can boost the preamp a bit for more output or beef, but I also use the LEJ a lot in passive (my entire last show, in fact) so then series might come in handy.
So, mostly I'm just wondering how the toggle pots/knobs hold up over time.
Thanks. Anyone else?
- Anyone got more than 2 LEJ's ?
I have an active/passive push/pull pot on my tone control. I have not noticed it coming loose (it hasn't been tightened over the last 6 months). I must say the pot feels nothing like the other ones. It has a lot less tension when turning and feels flimsier than the others. I've just decided it's something I have to live with, since I have an uncontrolled paranoia that my battery will die during a show.
I know what you mean, Beav. I'm not so much worried about the easier action twisting the knob, just how push/pulls tend to be a bit loose in their socket, so to speak. Especially when pulled out.
But as I said, the one on my new LEJ is remarkably solid. Same with my older one, but more so the new one. If all the newer pots are like that, I'd be more inclined towards push/pull than switches at this point. Push/pulls would save me any drilling mishaps, and are easily removed if need be.
Dig it ...
But as I said, the one on my new LEJ is remarkably solid. Same with my older one, but more so the new one. If all the newer pots are like that, I'd be more inclined towards push/pull than switches at this point. Push/pulls would save me any drilling mishaps, and are easily removed if need be.
Dig it ...
Hey there!
Nice pair of basses. There's a 5 and a 6 for sale at Low Down Sound at the moment, so I've been able to spend some time with them lately. Nice basses... very punchy sounding, nice and lightweight, big low end if you want it. I really like the '6 string J' thing... very unusual. I guess Atelier is the only other company doing that (that I'm familiar with anyway).
K
I really like my Lowend jazz. I'm not sure that I love it but it's not going anywhere. A big part of the buying experience was working with Brian who I can't recommend any more highly.
The Lowend jazz is a very modern sounding bass, in my limited experience I'd Imagine it being the "jazz on steroids" sound. Probably moreso than any other jazz style I've played. Mine is an ash 5er with a holly top and black accent stripe. It's a beautiful bass and built like a tank. It's a very forward and in your face sound which can be tamed a bit with a little tweaking with the onboard EQ or passive tone rolloff. In all settings I've found it to retain it's aggressive edge.
I'd love to have a 4 string LEJ in the near future and really hope a Lowend P/J setup pans out. That'd be MEAN!
The Lowend jazz is a very modern sounding bass, in my limited experience I'd Imagine it being the "jazz on steroids" sound. Probably moreso than any other jazz style I've played. Mine is an ash 5er with a holly top and black accent stripe. It's a beautiful bass and built like a tank. It's a very forward and in your face sound which can be tamed a bit with a little tweaking with the onboard EQ or passive tone rolloff. In all settings I've found it to retain it's aggressive edge.
I'd love to have a 4 string LEJ in the near future and really hope a Lowend P/J setup pans out. That'd be MEAN!
Too bad those aren't on the LDS site. I really dig the 6-string J thing too ! Never believed I'd play 6'ers, chords, etc. but the 6-string has really opened up theory for me and allowed me to fill space more creatively in duos/trios and when jamming. And best of all I'm constantly enthused for playing it, and after a lot of varied gigs still feel it lacks nothing.
Unlike the Ateliers, my LEJs don't weight 14 lbs ! Maybe 9.5 for the spalt burst, and 10 or 10.5 for the black one but that's with a brass bridge and heavy knobs so you could knock a pound off that weight using an aluminum bridge and knobs easily. He had one 6'er, basswood body I think, that was around 8 lbs.
Hotwire makes 6-string J's too. I think you'd dig those, in a Celinder kinda way.
Brian is certainly easy to deal with. I've done ... 4 or 5 big (over $1000) international exchanges of $/gear now and have had no concerns. He deals a lot with Europe too, for those that don't know - not all shops are easy to deal with internationally, so that's a big factor for some including me.
I've had the pleasure of dinner with the guy, and he's cool but not trying to be liked. He marches to his own beat, works long hours to grow his business, gets any issues worked-out, and I respect all that.
With nickels, especially older ones, in passive mode with tone rolled off (passive tone rolloff works in active mode too, for those that didn't know), I can cop a decent non-modern vibe easily enough. Right hand closer to the neck, left hand muting, and if I'm doing Motown or Queen it sounds correct in the mix. I used passive my whole last gig actually, mostly because it worked better with the input on my Scout (KJung's old combo, heh) and the tunes didn't need any EQing that day.
Anyway, it's not limited to new-school tones any more than the player allows it to be, IMO. That's not to say it's the same as a P with flats, but just saying that where there's a will there's a way and it ain't tough to do.
The playing style and gear factor a fair bit, as always. Personally I sound nothing like the awesome player (and tone) in that PhatHatBand link - http://www.youtube.com/user/phathatband
Post a pic of yours? I think he is doing P/J configs now.
Too bad those aren't on the LDS site. I really dig the 6-string J thing too ! Never believed I'd play 6'ers, chords, etc. but the 6-string has really opened up theory for me and allowed me to fill space more creatively in duos/trios and when jamming. And best of all I'm constantly enthused for playing it, and after a lot of varied gigs still feel it lacks nothing.
Hotwire makes 6-string J's too. I think you'd dig those, in a Celinder kinda way.
Brian is certainly easy to deal with. I've done ... 4 or 5 big (over $1000) international exchanges of $/gear now and have had no concerns. He deals a lot with Europe too, for those that don't know - not all shops are easy to deal with internationally, so that's a big factor for some including me.
I've had the pleasure of dinner with the guy, and he's cool but not trying to be liked. He marches to his own beat, works long hours to grow his business, gets any issues worked-out, and I respect all that.
With nickels, especially older ones, in passive mode with tone rolled off (passive tone rolloff works in active mode too, for those that didn't know), I can cop a decent non-modern vibe easily enough. Right hand closer to the neck, left hand muting, and if I'm doing Motown or Queen it sounds correct in the mix. I used passive my whole last gig actually, mostly because it worked better with the input on my Scout (KJung's old combo, heh) and the tunes didn't need any EQing that day.
Anyway, it's not limited to new-school tones any more than the player allows it to be, IMO. That's not to say it's the same as a P with flats, but just saying that where there's a will there's a way and it ain't tough to do.
The playing style and gear factor a fair bit, as always. Personally I sound nothing like the awesome player (and tone) in that PhatHatBand link - http://www.youtube.com/user/phathatband
Post a pic of yours? I think he is doing P/J configs now.
Holy moly...a 6 string PJ... now that is unique. That's a beautiful instrument right there!
They start at $2500
I know the LEJ's get pegged as a "modern jazz", but they can do a nice vintage tone. I personally don't like the super bright modern jazz tone. I think it's cool that it can do that, but I also like that it doesn't have to sound that way. Mine sounds nice and dark with some mean growl. All I have to do is roll back the tone 1/4 and boost some bass.
I know the LEJ's get pegged as a "modern jazz", but they can do a nice vintage tone. I personally don't like the super bright modern jazz tone. I think it's cool that it can do that, but I also like that it doesn't have to sound that way. Mine sounds nice and dark with some mean growl. All I have to do is roll back the tone 1/4 and boost some bass.
So I have had the LEJ 5 for 1 week now having played 2 sessions and 1 gig and the bass is fantastic...
She cuts thru the mix and punches like Ali while retaining a sweet buttery lowend and that classic LEJ sizzle up top that no other bass cops....
She compliments my Atelier Z very well and with both of these axes I feel confident I can cover any gig or session with incredible sound and feel..She surpassed my expectations by far!!
Hey Smash, My Atelier Z is 10.5 lbs and can do a 4 set cover gig with ease just the very early ones were tank heavy..
I had Brian send me the push/pull pots to install the series/Parallel option but I am digging the tone so much I am in no rush to install them..
She cuts thru the mix and punches like Ali while retaining a sweet buttery lowend and that classic LEJ sizzle up top that no other bass cops....
She compliments my Atelier Z very well and with both of these axes I feel confident I can cover any gig or session with incredible sound and feel..She surpassed my expectations by far!!
Hey Smash, My Atelier Z is 10.5 lbs and can do a 4 set cover gig with ease just the very early ones were tank heavy..
I had Brian send me the push/pull pots to install the series/Parallel option but I am digging the tone so much I am in no rush to install them..
Soundcheck video is a Walkabout Scout 1x12 combo onstage, but the bass is DI'd (before the amp) to the PA and I doubt you're hearing any of the combo.
"Usually?" Depends on so many things.
In rehearsals it's usually a Carvin B500 and "vintage" Traynor 6x10. Great combo. That's what you hear in that looping video. Sometimes I add a "vintage" Traynor 2x10 + 1x15 in thta room. Some rehearsals it's a Schroeder 1x12L and MarKBass LMII, and even a PJB Briefcase.
Most gigs it's the LMII into a Schroeder 21012L, sometimes with a Carvin B1500 on top. Sometimes I'm just using the Scout, or whatever backline we get including the obvious SVT stacks, Peavey 4x10 + 1x18 ... you name it.
Is there something specific you were listening for, or hearing?
A little in contrast to what Jonno wrote, one thing I especially like about the LEJ is that you can *not* have that electric sizzle that seems ubiquitous in so many modern or active basses.
I think people hear the NAMM clips where cats are boosting everything including the treble, or the modern funkateer guys that seem smitten with these basses slapping away, and presume that sizzly is all they do. The basses indeed do "modern" very well, and I can dig that sound for those cats, but I'm not trying to remove fillings with my high end and I don't think guys like Knarley playing in Dread Zepp, or Beav's clips, or Jimi in Telluride are exactly sizzly either.
That soundcheck clip of mine perhaps sounds bright on the high end, but I was really digging in while I later used the exact same setup/settings to play some latin vibes and classis like "Georgia On My Mind" that same day - I rolled the passive tone off some and laid off the attack but that's about it. Sounded perfectly fine. I'd hear about it quick from a variety of persons if it didn't.
Regarding the pricing, which Snr. Squid asked about above, I'd say talk with Brian. If he's got stock he wants to move, or you order from scratch with simpler options, you might pay less than you expect by looking that the options list on the website. He's very fast in replying to emails, and as you can see in the pics he's not afraid to try different looks and whatnot so that makes it fun if you have something unique in mind.
Actually, Brian if you're reading this - or anyone who might know - why is it we never see glossed rosewood fingerboards, as is done with maple? On my new black LEJ, the bit of fingerboard past the nut on the headstock is glossed, and it looks simply stunning. Without getting into feel/sound of a fingerboard, imagined or otherwise, simply on an esthetic level it looks awesome ... so why ain't it an option?
Hey Smash,
When I reffered to the Sizzle I wasn't reffering to an EMG or other synthetic non organic high end sort of tone but something unique to LEJ basses and incredibly sweet sounding and YES with a few turn of the knobs she can be pulled back and sound completely vintage and warm..
When I reffered to the Sizzle I wasn't reffering to an EMG or other synthetic non organic high end sort of tone but something unique to LEJ basses and incredibly sweet sounding and YES with a few turn of the knobs she can be pulled back and sound completely vintage and warm..
john turner
You don't want to do that. Trust me.
man, i am so dying for a bound maple board fretless 7 with a CAR sparkle finish and white pg to match my geddy7.
Too bad those aren't on the LDS site. I really dig the 6-string J thing too ! Never believed I'd play 6'ers, chords, etc. but the 6-string has really opened up theory for me and allowed me to fill space more creatively in duos/trios and when jamming. And best of all I'm constantly enthused for playing it, and after a lot of varied gigs still feel it lacks nothing.
Unlike the Ateliers, my LEJs don't weight 14 lbs ! Maybe 9.5 for the spalt burst, and 10 or 10.5 for the black one but that's with a brass bridge and heavy knobs so you could knock a pound off that weight using an aluminum bridge and knobs easily. He had one 6'er, basswood body I think, that was around 8 lbs.
Hotwire makes 6-string J's too. I think you'd dig those, in a Celinder kinda way.
Brian is certainly easy to deal with. I've done ... 4 or 5 big (over $1000) international exchanges of $/gear now and have had no concerns. He deals a lot with Europe too, for those that don't know - not all shops are easy to deal with internationally, so that's a big factor for some including me.
I've had the pleasure of dinner with the guy, and he's cool but not trying to be liked. He marches to his own beat, works long hours to grow his business, gets any issues worked-out, and I respect all that.
With nickels, especially older ones, in passive mode with tone rolled off (passive tone rolloff works in active mode too, for those that didn't know), I can cop a decent non-modern vibe easily enough. Right hand closer to the neck, left hand muting, and if I'm doing Motown or Queen it sounds correct in the mix. I used passive my whole last gig actually, mostly because it worked better with the input on my Scout (KJung's old combo, heh) and the tunes didn't need any EQing that day.
Anyway, it's not limited to new-school tones any more than the player allows it to be, IMO. That's not to say it's the same as a P with flats, but just saying that where there's a will there's a way and it ain't tough to do.
The playing style and gear factor a fair bit, as always. Personally I sound nothing like the awesome player (and tone) in that PhatHatBand link - http://www.youtube.com/user/phathatband
Post a pic of yours? I think he is doing P/J configs now.
I got to play that bass at the LowEnd shop last week, and it is totally fantastic! LowEnd jazzes are now my absolute favorite high end jazz basses. To top it off, Brian Barrett is a super nice guy who clearly has a passion for the bass and his work. Like Roger Sadowsky, he is a guy who is definitely worthy of our support and $$.
Cheese, that's saying A LOT considering you've played Ken's Magical Mystery Celinder (you have, haven't you?). . . many here consider that to be the cat's pajamas of J's.
SMASH, thanks man. Mainly I was curious about the LMII as that's what I'm gigging with currently. I love the amp, and I loved your clips. I was just wondering if that's what I was hearing the bass(es) through.
I think I need to check out some LEJ action!
SMASH, thanks man. Mainly I was curious about the LMII as that's what I'm gigging with currently. I love the amp, and I loved your clips. I was just wondering if that's what I was hearing the bass(es) through.
I think I need to check out some LEJ action!
I have played Ken's Celinder, and it is a great bass, but it is pretty heavy and I think that the LEJs are full 19mm instead of 18mm. I also like the fact that the LEJ is not a pure jazz redux. The fact that Brian Barrett used the Tobias influence sets the LEJ apart from other boutique jazzes, IMO.
I know I could email and bother Brian to ask, but I'm more curious than thinking about purchasing (I'm already GAS-free with my current Benavente)
My Benny has Benny pickups. All the LEJ's I see have LEJ pickups. Is Brian or Chris opposed to having different pre-amps or pickups (like Nordstrand's) installed if you want?
Just wondering...
My Benny has Benny pickups. All the LEJ's I see have LEJ pickups. Is Brian or Chris opposed to having different pre-amps or pickups (like Nordstrand's) installed if you want?
Just wondering...
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