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Who’s playing a Jazz?
- Thread starter PhinDog
- Start date
I generally play both pickups open, and cut lows a little on my amp (or FoH) and never have trouble being heard.
Most issues I hear when listening to live music around our local area are tied to the fact that some bands just do a horrible job mixing, don't use HPF's, or their bass player doesn't know how to EQ their instrument.
Cutting lows just a bit can really help you cut through.
Most issues I hear when listening to live music around our local area are tied to the fact that some bands just do a horrible job mixing, don't use HPF's, or their bass player doesn't know how to EQ their instrument.
Cutting lows just a bit can really help you cut through.
Smooth_bass88
vaxx!
- Oct 31, 2006
- 12,122
- 16,796
- Disclosures
- have been on nationally released albums, charting on the Billboard 200
When I play a jazz bass it never ever feels lost in the mix. I'm doing hundreds of gigs a year on jazz basses- never a problem. That being said, my number one is a US Lakland 4460 which is hands down the punchiest jazz bass I've ever heard.
I have never, as in not once, had an issue with my Jazz Bass “cutting through” a mix; with the one exception of open mic situations where multiple guitars were all turned up to 11 trying to dominate the soundstage. Fortunately, I don’t do that latter type of gig any more.
I have a Precision, started on the Precision 52 years ago, and still gig the Precision. It does some specific things well, but has nothing on the Jazz.
I use these two parts basses for 90% of my gigs. They have the Sadowsky Onboard Preamp and Delano JMVC pickups; which combination produces the full range of J AND P sounds. For examples, my sig line contains a link to my two guys with guitars gig, which has clips recorded with the white Jazz 5.
My Ultra Jazz is my current #1, and I don’t feel it gets buried at all. Active mode, both pups equal or soloed neck pickup, eq flat.
The secret ingredient! I lent it to one of the guitarists I work with for a bass gig. People told him it was the best he'd ever sounded on bass. I've used mine at one of these "downtown after 5" gigs without a direct out, and everybody could hear me to the back of the park. I run a MoMark 800 watt through it. No compressor, no pre-amp, no nothin', just a clean, rich tone. I mostly just use the neck pup, add some bridge when I want a little grind. Easy-peasy.
PS: When I hear the phrase "sitting in the mix" my eyes glaze over. Either you have a nice defined bass sound or you don't. My real secret of success: When the band's sound person makes suggestions, I follow them.
What’s strings y’all using. The Jazz I used to mostly plays is an MIJ, basswood, with nj4 60’s. The tone can get a bit dull or plain, I had started preferring a punchier P, but know what difference a set of strings can make.
Neither one of my Jazzes gets lost in the mix. Both have passive Bartolinis in them as p/u ‘s. Strings are standard gauge nickel Rotosound rounds on the fretted and La Bella Lo-Tension flats on the fretted.
All my basses are Jazzes and if you get buried in the mix...you ought be looking way further than the bass you are using.
I usually use the volume wide open.
Tone to taste because it varies from bass to bass.
I tend to know the players I set up with and none of them are deaf to a mix.
They sit on the platform I provide, they never try to fight or dominate it.
They wouldn't be chosen for the gig otherwise.
If you are up against a wall of sound and your collective response is to fight fire with fire, you'll always have mix issues.
Its about sonic space and everyone has to get that.
I usually use the volume wide open.
Tone to taste because it varies from bass to bass.
I tend to know the players I set up with and none of them are deaf to a mix.
They sit on the platform I provide, they never try to fight or dominate it.
They wouldn't be chosen for the gig otherwise.
If you are up against a wall of sound and your collective response is to fight fire with fire, you'll always have mix issues.
Its about sonic space and everyone has to get that.
I’ve been wanting to try the Nickel rotosound 66’s, what are they like compared to the SS versions or standard nickels like XL’s?
I use nothing but fender USA jazz both pickups wide open and play thru a sans Amp rbi , crown power Amp and an SWR Goliath 4x10 and never had a problem being heard. As a matter of fact sometimes I'm told to turn down lol I believe if you are lost in the mix it's got a lot to do with your eq settings
A 73' Jazz was my number 1 for probably 30 years.
Oddly enough, it had Dimarzio Model J's and a really chunky neck that I liked more than my stock 72'.
But the neck developed a huge ski jump and it became nearly unplayable thus starting a solid 5 years of Stingrays.
About a month ago I got it back from wharpednecks.com and it is magnificent.
After a bunch of comparisons at home and rehearsal between SR's and P basses, it has become #1 again!
It now has Fender 55's for pups but plan on sending the original pups out for a rewind as they died sitting in a drawer.
Hopefully the neck will not change.
Oddly enough, it had Dimarzio Model J's and a really chunky neck that I liked more than my stock 72'.
But the neck developed a huge ski jump and it became nearly unplayable thus starting a solid 5 years of Stingrays.
About a month ago I got it back from wharpednecks.com and it is magnificent.
After a bunch of comparisons at home and rehearsal between SR's and P basses, it has become #1 again!
It now has Fender 55's for pups but plan on sending the original pups out for a rewind as they died sitting in a drawer.
Hopefully the neck will not change.
Jazz basses are very weak and thin sounding. You can never hear them either. Here's an example of what I' talking about.
What was the Family Man thinking?
Here's some more evidence. You can tell the crowd would of been much more into it if JPJ would of used a P bass.
What was the Family Man thinking?
Here's some more evidence. You can tell the crowd would of been much more into it if JPJ would of used a P bass.
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Interesting coming across this thread. I recently acquired a CIJ jazz, and it had the stack knobs, covers, and those funny little individual mutes by the bridge. I was playing it with the mutes installed, and for the heck of it tried it without those last night. I cute through a lot better with the mutes on. I also play with a pick and use flatwounds, so that probably eliminates how 90% of the people on here experience a jazz! 
I’ve had a few anemic jazz basses so I can empathize with the OP.
Currently my main working bass is a Lakland Skyline vintage jazz 5. Even though it’s passive, it almost sounds active with those Chicago style pups. Using a set of steel DR 45-125’s into a new GK Legacy combo which also has an overdrive channel.
Can’t say I have any trouble cutting through … but it does depend largely on the room and the musicians of course.
Currently my main working bass is a Lakland Skyline vintage jazz 5. Even though it’s passive, it almost sounds active with those Chicago style pups. Using a set of steel DR 45-125’s into a new GK Legacy combo which also has an overdrive channel.
Can’t say I have any trouble cutting through … but it does depend largely on the room and the musicians of course.
I play in 2 rock bands, a trio and a 5pc.
I have 2 Js that I use with them. One is permanently series wired and the other is switchable series/parallel. A bit of dirt from a Rusty Box with bright EQ and I'm not lost in the mix.
(Switching to using a pick helped too)
I have 2 Js that I use with them. One is permanently series wired and the other is switchable series/parallel. A bit of dirt from a Rusty Box with bright EQ and I'm not lost in the mix.
(Switching to using a pick helped too)
I’ve always played a jazz. It consistently cuts through. If you’re having issues, add a good compressor.
