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Precision vs Jazz at a gig

#141
Geez. A guy leaves a simple post about his experience gigging with a P and a J and checks back in a few days later to find seven pages of posts, arguments about strings, EQ settings, and accusations of passive-aggressiveness and trolling!

Can't we just all get along? I didn't mean to open up this can of worms.

Here's my take away: basses are different, strings are different, amps are different, players are different, venues are different, sound guys are different. Each will affect your sound at a gig.

Occasionally all those elements will come together and make a great sound. That's why music is magic.

God bless us, one and all.
 
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#142
RichardW said:
Geez. A guy leaves a simple post about his experience gigging with a P and a J and checks back in a few days later to find seven pages of posts, arguments about strings, EQ settings, and accusations of passive-aggressiveness and trolling!

Can't we just all get along? I didn't mean to open up this can of worms.

Here's my take away: basses are different, strings are different, amps are different, players are different, venues are different, sound guys are different. Each will affect your sound at a gig.

Occasionally all those elements will come together and make a great sound. That's why music is magic.

God bless us, one and all.
Click to expand...

Haha, you mustn't have read many threads on TB, you got off lightly :roflmao:

Rock on, and have a great Christmas!
 
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#143
JimmyM said:
Well yeah, obviously never :D But I'd say for bass, 68 was the turning point year. That was when Acoustic started making its mark on the bass scene. There were others for sure, but they often had tech problems or lower wattage. And in 67 and 68, Ampeg was playing catchup to technology because the original owner was so stuck in his ways that he wouldn't dream of allowing much over 50w, and he had to be talked into even that much wattage.


No, I got that, and my point still stands. I can easily get brilliant hi-fi full range frequency response out of any of my tube amps plugged into a cab that delivers it or direct into a mixing board, and I can do it with an early SS amp as well. It wasn't the amps...it was the cabs.
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I was lucky enough to see Jaco with Weather Report and I guess he would've been using Acoustic, then. Yes, speakers have improved immensely.
 
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#144
RichardW said:
Did a two-set show on Friday evening. I'd been rehearsing with my Jazz (with tapewounds) leading up to the gig, but on a whim decided to bring my Precision (with flats) to the gig also. I decided to play the first set with the P and the second with the J, just to see what the difference was.

The P was superior for the gig. Stood out in the mix really well, with plenty of punch. J got a little lost in the second set. I couldn't hear it as well.

It was an interesting adjustment, too, having rehearsed on the more narrow neck of the J and then playing the gig with the wider neck of the P. Took me a few songs to adjust.

Thinking now my P should be the go-to for full band gigs, and maybe the J for more acoustic sets.
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My first thought was, what kind of music?
My second though was, regardless, both could be great with the right rig and dialed in.
My third thought was, while you were writing this post, your band mates started looking for a new bassist because your bass sound is inconsistent.
I’ll stick with my second thought. And I vote part line, Vintage Fender P with flats.
 
#145
I modified a Squire Affinity J P bass. The versatility is epic. The growl is off the planet. Im hyped about playing the bass in a rehearsal. I was never a Precision bass enthusiast. I see that since 2005, I should have been.
 
#149
RichardW said:
Did a two-set show on Friday evening. I'd been rehearsing with my Jazz (with tapewounds) leading up to the gig, but on a whim decided to bring my Precision (with flats) to the gig also. I decided to play the first set with the P and the second with the J, just to see what the difference was.

The P was superior for the gig. Stood out in the mix really well, with plenty of punch. J got a little lost in the second set. I couldn't hear it as well.

It was an interesting adjustment, too, having rehearsed on the more narrow neck of the J and then playing the gig with the wider neck of the P. Took me a few songs to adjust.

Thinking now my P should be the go-to for full band gigs, and maybe the J for more acoustic sets.
Click to expand...
I think you are correct. Ps are just so easy for that kind of thing. Why make it harder than it needs to be? Jazz for more nuanced and a acoustic sets sounds great.
 
#152
socialleper said:
2020 - 60=1960
2020-70= 1970.
There is nothing modern about 70s tones.
You don't honestly think that bass toned haven't evolved in 50 years do you?
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I would offer up that in 50 years, there are more tone choices for the player to choose from. That’s a good thing. You pick the one most applicable to the genre you’re currently playing. No Geddy Lee in a Blues Brother type situation. You know what I mean. Being a biased Jazz bass player (and yes I have owned a few P Basses), I think a J is more versatile than a P.
 
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#153
socialleper said:
Ooo, 'buddy.' How wonderfully passive aggressive.

As musicians it is kinda our jobs to know what is going on in the music world. Ignoring it is like being an athlete that ignores modern training techniques or play strategies.
I don't like pop, country, rap or hip hop but that doesn't mean I completely ignore what is happening in those genres. I may not care for it, but lots of people with lots of money do.
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Reads more like you're bringing the passive aggressive to the mix.

Let's try to assume good intentions from others here, and not read negative things into their posts.
 
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#154
RichardW said:
Geez. A guy leaves a simple post about his experience gigging with a P and a J and checks back in a few days later to find seven pages of posts, arguments about strings, EQ settings, and accusations of passive-aggressiveness and trolling!

Can't we just all get along? I didn't mean to open up this can of worms.

Here's my take away: basses are different, strings are different, amps are different, players are different, venues are different, sound guys are different. Each will affect your sound at a gig.

Occasionally all those elements will come together and make a great sound. That's why music is magic.

God bless us, one and all.
Click to expand...
I have 8 basses. No two have the same pickup or string combinations. I like them all, and don't try to make them sound like each other. Some inspire me toward certain passages or ways of playing, others take me in different directions. This thread gave me some ideas how I can EQ and set the controls on my P and J basses, and for that, I'm grateful.

Hope you continue to play and post!
 
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#155
RichardW said:
Did a two-set show on Friday evening. I'd been rehearsing with my Jazz (with tapewounds) leading up to the gig, but on a whim decided to bring my Precision (with flats) to the gig also. I decided to play the first set with the P and the second with the J, just to see what the difference was.

The P was superior for the gig. Stood out in the mix really well, with plenty of punch. J got a little lost in the second set. I couldn't hear it as well.

It was an interesting adjustment, too, having rehearsed on the more narrow neck of the J and then playing the gig with the wider neck of the P. Took me a few songs to adjust.

Thinking now my P should be the go-to for full band gigs, and maybe the J for more acoustic sets.
Click to expand...
What do YOU think? That's all that matters.
 
#157
I posted on my Facebook page that if I keep seeing political posts of “rant” , jokes ok, I’ll block posts from “the friend”. All seemed to understand. I was told from a young age that religion and politics ya keep to yourself.
Now after many years, I think I’ll pass on to add J vs P to those two pieces of advice.
 
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#158
I own Ps and Js. I tend to lean on the Ps for that stand out on the mix sound BUT---it is dependent on the music style---- This is an important factor. A P with flats is a powerhouse for sure but again, a Jazz with rounds is equally unique, style dependent. I do own a Jazz with Dimarzio Quater Pounders that really does compete with any P in the my collection. Serious DUB boom with that one. With the right compression setting, that bass will pop my 15" cabinet speakers. Finally, if I had to take just one to the gig, it would be the P. This would cover the style I am plaing currently.
 
#159
This thread reminds me of another where someone remarked their jazz with flats lacked presence on the upper notes; the notes above second E (82 Hz) were quieter.

It seems with flats or tapes and the scooped setting, both pickups on full, the scoop pulls out the upper bass as well as some mids, and the strings aren't producing much treble anyways, so mostly you just get the very low bass. The fix if needed as others said is to turn down on the bridge pickup to get rid of the scoop.

I messed around with my Jazz with chromes and that is exactly the case although I was getting "ringing" overtones with the chromes. Since changed back to rotosound swings for lotsa top end growl.
 
#160
It’s nice when we can have both. I’ve found I like the P to have flats and the J to have rounds. The J with flats is a great sound by itself, but if “I” try it on the gig the bass disappears. But when “I” go with the P it’s as simple as plug and play. Might have to roll off some lows to control room boom and work the tone knob on the bass depending on the song. I just love the way the P blends with a well tuned kick drum.
 
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