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Why did the J never dethrone the P?
- Thread starter JazzyJacuzzi
- Start date
P's and J's = apples and oranges.
Both are good, IMO. I don't agree that neck pickup on J sounds like the P. The whole point of the Jazz bass is different tones, neck, body, etc. And the Precision is not the "end-all, be-all" bass that some people here claim it to be.
Both are good, IMO. I don't agree that neck pickup on J sounds like the P. The whole point of the Jazz bass is different tones, neck, body, etc. And the Precision is not the "end-all, be-all" bass that some people here claim it to be.
Have you owned both a J and a P? If you have you wouldn't have to ask.
Also I have listened to all of the "can you tell a difference" youtube videos where they play a J neck vs a P and I can ALWAYS tell the difference so I don't know where this "couldn't distinguish from a P's" nonsense is coming from.
1.) Some people love the thicker neck or they get a P with a variety of neck choices to choose from.
2.) It’s the mix that other people can usually hear a difference. Whether live or in studio.
3.) This is debatable. Count me among the guys who think the P is better balanced and more comfortable. Many other players have echoed this.They also tend to weigh less because of less electronics which adds even more playability. Also, if you’re sitting while playing, it really should be strapped in (Gary Willis preaches this) because otherwise, the bass moves all over the place depending on the passage etc. so that would completely kill the argument of “while sitting” which was always about NOT being strapped in while sitting.
The Precision Bass was around in the recording studios for the better part of ten years before the Jazz Bass made the scene. At that point, studio engineers already had their knobs set for the “Fender Bass,” and were more concerned with mixing hit records than fiddling around with a new kind of bass signal; especially when the existing bass already provided what they needed. First principle of engineering, “If it ain’t broke, don’t fix it.”
Some studio cats, most prolifically Joe Osborn, began using the new instrument; but, not many. Fast forward to the Summer of “69, and you can do your own informal poll by watching Woodstock, regarding the inroads the Jazz Bass was making after nearly another decade.
The Jazz Bass really started to hit it’s stride in the late 70’s / early 80’s as the music scene exploded into many different directions. I can actually recall a period where the Precision Bass seemed to fade into the shadows just a bit.
In more recent times, the music scene has consolidated, in the sense that interest in Jazz / Fusion has greatly diminished; and bifurcated, in the sense that many “studio” recordings are using patches instead of real bass players. The post digital world has caused many players to retrench.
The general public is now much more fascinated with Facebook than it is with making any kind of live music scene. Talking about which instrument happens to be “on the throne” at this time, while understandable, is a bit unfortunate, given the context.
Some studio cats, most prolifically Joe Osborn, began using the new instrument; but, not many. Fast forward to the Summer of “69, and you can do your own informal poll by watching Woodstock, regarding the inroads the Jazz Bass was making after nearly another decade.
The Jazz Bass really started to hit it’s stride in the late 70’s / early 80’s as the music scene exploded into many different directions. I can actually recall a period where the Precision Bass seemed to fade into the shadows just a bit.
In more recent times, the music scene has consolidated, in the sense that interest in Jazz / Fusion has greatly diminished; and bifurcated, in the sense that many “studio” recordings are using patches instead of real bass players. The post digital world has caused many players to retrench.
The general public is now much more fascinated with Facebook than it is with making any kind of live music scene. Talking about which instrument happens to be “on the throne” at this time, while understandable, is a bit unfortunate, given the context.
One thing these kinds of posts bring out...
It brings out how much a lot of folks think of their own opinons...
It brings out how much a lot of folks think of their own opinons...
it's not game of thrones. it's fender basses.
honestly, i've always seen a lot more 4 string jazz basses than anything else when i'm out and about.
the "most recorded bass ever" title of the P is true in a lot of ways, but also there's no super firm data on that, is there?
they're very much a truck vs a motorcycle. different applications.
honestly, i've always seen a lot more 4 string jazz basses than anything else when i'm out and about.
the "most recorded bass ever" title of the P is true in a lot of ways, but also there's no super firm data on that, is there?
they're very much a truck vs a motorcycle. different applications.
Ric5
Inactive
- Jan 29, 2008
- 29,772
- 30,452
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- I like 5, 8, 10, and 12 string basses
Why did the J never dethrone the P?
What about Warwick, Schecter, Ibanez, Gibson, Epiphone, Hofner, Rickenbacker, Dean, Lakland, Spector, Musicman, G&L, Alembic, and many others?
What about Warwick, Schecter, Ibanez, Gibson, Epiphone, Hofner, Rickenbacker, Dean, Lakland, Spector, Musicman, G&L, Alembic, and many others?
Because you can’t just lean it against something without it falling over.
Not trying to kick a beehive, just add a wrinkle: For a busy recording studio, it's not just that a P seems to record well without much twiddling, it also removes a significant potential for variables (that won't have to be chased down) if punch-ins become necessary. Consistency in bass tone is fairly important (on a given recording), beginning to end. Take away some knobs, save some studio time.
I'm a P man hands down.
I can't stand the skinny cramp inducing necks, the thin blend into the background tone or the shenanigans with the two volumes.
Give me an active PMM or dual soap bar equipped bass any day over ANY jazz bass. Though in fairness the active eq is more my comfort tat tone shaping necessity (its my fingers doing 95% of the tone, for better or worse).
I do love the shape of a jazz body however and the jaguar is my favourite fender shape, just a shame they came with dual J set up.
I can't stand the skinny cramp inducing necks, the thin blend into the background tone or the shenanigans with the two volumes.
Give me an active PMM or dual soap bar equipped bass any day over ANY jazz bass. Though in fairness the active eq is more my comfort tat tone shaping necessity (its my fingers doing 95% of the tone, for better or worse).
I do love the shape of a jazz body however and the jaguar is my favourite fender shape, just a shame they came with dual J set up.
My understanding is (and my ears tell me) that JBs have a mid scoop (not a hump). The mid scoop is caused by phase cancelation of the two pickups.
I've always thought that PBs have a very strong mid range with slightly less low and high end - which is why they "sit in the mix" so well, and why they are often favored for recording.
... But maybe I'm crazy!!
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Historically (and now), the J bass is the "delux" model, and is more expensive than the P bass. I'd guess that that - along with the simplicity of the P - has a big part in driving sales - especially with first time buyers.
I prefer a J personally. I like the body shape. The neck depends - I don't care for those super wide (at the nut), but flat (depth) P necks. My P bass has a super fat neck with a 1.5" nut. I also really prefer the sound of the J.
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The thinner neck on a jazz actually slows me down. My hands cramp up on a thin necked bass. The ebmm stingray beats both in tone and playability...
