I disagree. Everytime I play my Jazz or my Jaguar and even my Precisions, I'm wondering where the rest of the tone is. After picking up my Sterling, Stingray or ATK, I find the rest of what was missing.
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The Most Versatile Bass? You'd Be Surprised
- Thread starter plangentmusic
- Start date
- Jun 3, 2009
- 3,330
- 398
- Disclosures
- Bassgearu, Music Industry Consulting and Sales. Tech 21, NBE Corp, Sonosphere.
I'm gonna chime in and say that the Kubicki Ex-Factor actually is much more versatile then a J Bass. Not only can you dial in everything from upright sounds to the nastiest, clankety-tappity slap sounds, but you also can detune as well.
Just about any active bass can dial in the whole range of usable and needed tones, and mimic classic tones like both the P and J, much more then a J bass. I can make my Peavey G Bass sound like a J, like a P, like a Modulus and like a slap piano, all with just one silly 18V active pickup.
Now, if you want to argue over passive basses, yes, basses with dual soap bar or J style pickups tend to be more versatile then those with just P bass or single soapbar pickups. I can get about three times the amount of tones out of my Jerry Jones longhorn4 then I can out of my Silvertone 1442 single pickup. And if you listen to a vintage Steinberger L1 (single EMG) and compare it to the L2 (dual EMG) there are light years of tonal difference. Same for an Aria Pro II SB-700 and SB-900.
I think I've made my point. I recorded my most recent EP with the Kramer 650B, a Lightwave Sabre and a Hartke XL-4. Wanna laugh? When it was all said and done, they ALL sound like a P! The Kramer songs sound like the P Bass used in most punk records, the Sabre's sound like vintage P with flats, and the Hartke sounded like a '70s P with a J neck (you can detect that difference).
My two pennies.....
If I were to make this statement based on hit songs recorded, then the P bass blows the J away, even considering all of Joe Osborne's stuff.
Just about any active bass can dial in the whole range of usable and needed tones, and mimic classic tones like both the P and J, much more then a J bass. I can make my Peavey G Bass sound like a J, like a P, like a Modulus and like a slap piano, all with just one silly 18V active pickup.
Now, if you want to argue over passive basses, yes, basses with dual soap bar or J style pickups tend to be more versatile then those with just P bass or single soapbar pickups. I can get about three times the amount of tones out of my Jerry Jones longhorn4 then I can out of my Silvertone 1442 single pickup. And if you listen to a vintage Steinberger L1 (single EMG) and compare it to the L2 (dual EMG) there are light years of tonal difference. Same for an Aria Pro II SB-700 and SB-900.
I think I've made my point. I recorded my most recent EP with the Kramer 650B, a Lightwave Sabre and a Hartke XL-4. Wanna laugh? When it was all said and done, they ALL sound like a P! The Kramer songs sound like the P Bass used in most punk records, the Sabre's sound like vintage P with flats, and the Hartke sounded like a '70s P with a J neck (you can detect that difference).
My two pennies.....
If I were to make this statement based on hit songs recorded, then the P bass blows the J away, even considering all of Joe Osborne's stuff.
My $.01 (as it's surely been said before):
The Fender Precision. Its versatility lies in its ability to fit in with different styles and instrumentations without changing its own sound.
I love my current Jazz, it is the most comfortable bass I've personally owned - but my beat to **** old P is still the reliable go-to bass when I just need the sound to fit in without tweaking.
The Fender Precision. Its versatility lies in its ability to fit in with different styles and instrumentations without changing its own sound.
I love my current Jazz, it is the most comfortable bass I've personally owned - but my beat to **** old P is still the reliable go-to bass when I just need the sound to fit in without tweaking.
Is this where we sign up for the Grumpy Bassplayer club?
I Don't want a number! LOL
Hey Guys, lighten up. 
I'm ususually impressed with how respectful folks are here toward each others opinions. Seems like just another Thread where somones looking to praise their favorite bass with others who also feel the same. No harm. In 10 minutes someone will post the same thing about Ps', Clements, Zons, Dimarzios' , Alembics, MMs, Peavey etc.
I Don't want a number! LOL
Hey Guys, lighten up. I'm ususually impressed with how respectful folks are here toward each others opinions. Seems like just another Thread where somones looking to praise their favorite bass with others who also feel the same. No harm. In 10 minutes someone will post the same thing about Ps', Clements, Zons, Dimarzios' , Alembics, MMs, Peavey etc.
Especially when they don't work right -- and the Jazz's passive V/V/T setup manifestly doesn't and apparently never will.
As obsessive as sweaty people are about problems that don't even exist, I'm amazed that they're deaf to this one that does and always has.
Especially when they don't work right -- and the Jazz's passive V/V/T setup manifestly doesn't and apparently never will.
As obsessive as sweaty people are about problems that don't even exist, I'm amazed that they're deaf to this one that does and always has.
Care to elaborate? I've been really enjoying the tones I get from my passive J lately. I find a few settings that work really well are (on a scale of 1-10 for each knob):
B 8 , N 6 , T 5
B 6 , N 10, T 6
B 9 , N 0 , T 4
These are all quite different sounds, also different from the usual 10-10-10 as well.
The jazz bass is, all in all, a very versatile instrument and obviously a proven design. But calling it the definitive champ is just trolling for different opinions, which i'm not knocking, opinions are interesting. I'd say if I had to choose only one bass for a desert island where I was the only bass player, a jazz would be great. So would a P. Or a MM. or a beat up old peavey foundation. Or an epi JC...it's not all in your fingers, but it also kind of doesn't really matter. Notes matter a thousand times more. Oh great I'm one of them now, never mind...
I'm sorry but the peavey T-40 is the most versatile and underrated bass of alltime. any sound you want from P or Jbass to Ric to gibson. I own alot of basses (9) but I can't put my $230 T-40 down. Yeah its heavy and ugly, but I like that. Besides so am I. "hey moe these pipes aint no good they're filled with water"
I'd vote for ACGs with Alan's proprietary East/ACG preamp as being among the most tonally versatile. I don't think of the filter based pre (I have on on my fretless) as being great at small adjustments (boosts, cuts etc) but it absolutely excels at allowing an array of different tones.
Some clips to prove the point (taken from this thread):
Some clips to prove the point (taken from this thread):
A J is a classic nice instrument with a couple good sounds. I'm more of a P bass guy myself.
I think at versatility more in terms of player's goal rather than instrument features. This doesn't mean that I'm unable to understand how a two humbucker equipped bass with many switches works but I think that, on an instrument, the step from versatility to useless is a small one.
Have you heard the kind of sounds that Chris Wood produces with his upright? Or with his P bass?
Creative mind making wonders on supposed one-trick pony... my kind of guy.
I think at versatility more in terms of player's goal rather than instrument features. This doesn't mean that I'm unable to understand how a two humbucker equipped bass with many switches works but I think that, on an instrument, the step from versatility to useless is a small one.
Have you heard the kind of sounds that Chris Wood produces with his upright? Or with his P bass?
Creative mind making wonders on supposed one-trick pony... my kind of guy.
I don't understand the thread title.
Why should I be surprised that someone thinks their bass is the most versatile?
Why should I be surprised that someone thinks their bass is the most versatile?
I don't understand the thread title.
Why should I be surprised that someone thinks their bass is the most versatile?
I own 10 basses. Just saying after all is said and done, that design works well for that purpose.
That works for you, as you've stated. I get that. That still doesn't explain why I or anyone else should be surprised about your opinion about your bass.
I see your point. I own 5 basses currently (down from 8) and my jazz is not my main player. Not surprisingly, my favorite bass is also the one I deem to be the most versatile among my stable.
Doesn't mean I don't love my Valenti P5 (passive with Chromes) but it makes a lot of sense that the bass I reach for the most is the one I feel covers the most ground.
I'd agree with countless others on this site that say it's more in the hands than anything on versatility. Playing with a pick whether open or palm muted, finger style by the bridge neck or in between the pups, finger style curved VS flat fingered, palm muting with the thumb, slapping, tapping, and tasteful dynamics can a yield different tones no matter what the bass is.
Nothing has came close to the versatility in changing my tone or technique than the Jazz IMO. The 3 knobs and range of techniques I use alone are plenty to get me wide range of sounds, easily and quickly. I think that's a valid point, that while other basses can also be very versatile, it's more in the hands and how much effort it takes to get the sound you want. I could probably get a great sound out of a 8 knob bass, but I don't wanna have to constantly remember settings, change them on the fly during the show. How often would it be dead on with what's in my head the 1st time? Plus don't most active knobs boost and cut overall volume? You'd drive your sound man and monitors crazy. Whereas on the jazz it's quick. Singer calls the song and I think "what technique?" and then I think "what setting?" and before the drums kick in I am ready BAM!
I am playing live constantly, so I don't like to have to mess with the bass much during the show. It can be done with an 8 knob bass, but it can be a headache if you are always fiddling with knobs. I prefer to groove and not think. If you're practicing at home or in studio it never really matters as much, tweak away.
Nothing has came close to the versatility in changing my tone or technique than the Jazz IMO. The 3 knobs and range of techniques I use alone are plenty to get me wide range of sounds, easily and quickly. I think that's a valid point, that while other basses can also be very versatile, it's more in the hands and how much effort it takes to get the sound you want. I could probably get a great sound out of a 8 knob bass, but I don't wanna have to constantly remember settings, change them on the fly during the show. How often would it be dead on with what's in my head the 1st time? Plus don't most active knobs boost and cut overall volume? You'd drive your sound man and monitors crazy. Whereas on the jazz it's quick. Singer calls the song and I think "what technique?" and then I think "what setting?" and before the drums kick in I am ready BAM!
I am playing live constantly, so I don't like to have to mess with the bass much during the show. It can be done with an 8 knob bass, but it can be a headache if you are always fiddling with knobs. I prefer to groove and not think. If you're practicing at home or in studio it never really matters as much, tweak away.
I agree with the OP, in that if I had to, I could cover 99% of any gig with a J bass, no problem (particularly if it had a hipshot d-tuner on it!). That's long been my main gripe with the P-bass -- it's one dimensional.
However, that I don't currently own/play a Fender J bass is telling; I prefer the sound I get out of the fretted basses I have, and neither have a J-p'up in the bridge position (soapbars on two, Bartolni MM on my Lakland). I just prefer the tone and truthfully, how often do you want the bridge-solo tone on a gig?
However, that I don't currently own/play a Fender J bass is telling; I prefer the sound I get out of the fretted basses I have, and neither have a J-p'up in the bridge position (soapbars on two, Bartolni MM on my Lakland). I just prefer the tone and truthfully, how often do you want the bridge-solo tone on a gig?
