jrixn1
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Posts posted by jrixn1
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2 hours ago, dave74200 said:
want to buy another Jazz. Road Worn of course, the best series there is in my opinion!!
Have you seen @richardd 's ad - https://www.basschat.co.uk/topic/482854-fender-road-worn-jazz-2015-trade-only/
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One from today's news: "He allegedly punched William Thomas, a bass, because he left the podium in the wrong direction" 😬
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I'm really happy with my Aquila Gold Springs Synthetic G+D & whatever their recommended matching A+E are called (NB not real gut). They come from Italy and FWIW I paid about £200 including import duty etc. I think other posters will have more experience and better recommendations than me though.
If you go to jam sessions (which I highly recommend anyway for getting better at walking), you can ask to use the house bassist's bass - a good way to try out other types of bass, strings, and setup.
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Yep, I have Portwest gloves. We have vans with rolling flight cases etc and the gloves prevent nips and splinters. Also just keeps your hands cleaner when coiling PA cables which have been on dirty floors and/or stood on all night.
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I think a Q serial with "Crafted in Japan" indicates 2002-2004.
https://support.fender.com/en-us/knowledgebase/article/KA-01874I love my CIJ Precision - sold all my other basses!
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14 hours ago, steve_p said:
I suspect however, that the action can be improved [...] Does anyone have any suggestions regarding strings
I'm going to guess that the bass came with generic steel strings and a medium string height?
Lower string height isn't necessarily better - it depends what works best for your particular bass, technique, tonal aspirations, and string choice.
Spirocores with a lower string height is likely the most popular choice for jazz musicians; but some people like me prefer gut substitute (or real gut) with a higher string height for the tone and easier playability; or a combination, or something else. There is not just the one way to go.
So as long as the setup currently isn't so bad that the instrument is holding you back, I would leave everything as it is, and concentrate on learning to walk. Then revisit this topic after some time (more than a month).
QuoteShould I expect the instrument tone to change over time, due to the bass opening up?
Not sure about this. I've had my current modestly-priced hybrid Chinese bass for 10 years, and if the tone has improved it's because I've got better at playing it rather than the bass itself ageing like a fine wine.
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1 hour ago, lowdown said:
In your example it works nicely and sounds unusual/different because it's leading you somewhere different to the norm.
Most common times in the key of 'A', it would/could lead to an E(7), or any chord with an E in the Bass for that matter.
When I say different, in context, it's not really (although it's not a regular scale note). The D# Bass is part of a decending line to get back to the key centre (A).
Yes, it's a beautiful line! However I think I've distracted things by mentioning the leading line - which was really just an aside and not the point I was trying to make, which was that a chord with the 3rd in the bass is likely to sound good, not bad.
Perhaps here is a better example, which isn't part of a leading line and is your bog-standard ii V I (there's your cycle of fifths). James Jamerson on Reach Out I'll Be There:
In the third bar, he delays the root for a bar with the first inversion - sounds amazing. But JoeEvans reckons this is a clash, which is a part of his post I don't understand.
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1 minute ago, Stub Mandrel said:
That's an example of creating a tension then resolving it, usually described as 'leading into' a chord. The circle of fifths theory tells us nothing about this.
Yep absolutely - I'm just trying to understand what he's saying about an E note being a clash on a C chord.
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12 hours ago, JoeEvans said:
So if you're on a C chord and you play a C under it, that's totally neutral - anyone can play any chord or scale of C over that. Go one step each way and you can add F and G - still very neutral and ok in almost any situation.
One step more and you bring in D and B flat - still quite soft and neutral but starting to pin down the harmonies a bit more. That pattern of C D F G B flat is going to be very familiar and useful to any bassist.
One more step gives you E flat and A and now you're really defining a chord. Next you get E and A flat and now it's going to clash if the guitarist plays the wrong chord, and a horn solo will need to steer clear of certain scales too.
I have read your post a few times and it doesn't make any sense to me - perhaps I have misunderstood.
If the band is playing a song and the current chord is C, you as a bassist can't play the note F here as that will sound like a mistake. Likewise for playing Bb and Eb - those notes aren't even diatonic.
Then you say that playing an E is going to clash - but if anything that will sound quite good, because you're creating the first inversion. An example is in "Dancing Queen", when they sing "You can dance, you can jive, having the time of your life" - on the word "life", Rutger on bass plays D# when the chord is B7. Sounds great, and leads to the next chord (D) really nicely.
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Do you mean you play one set which is 2.5 hours long?
Could try tuning your bass to DGCF. I did this for a while to access lower notes without using a five-string, but a side effect was it kept me on my toes.
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The RCFs have just one input. If I want other instruments, I take a monitor feed from our mixer - depends what mixer you have though (if it has enough monitor channels).
Or for more input and routing options built into the powered speaker itself, I'd look at the QSC K12 or Yamaha DXR12.
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4 hours ago, beastie said:
genz Benz shuttle 9.2 and a fearless Greenboy 1x12
Ok great - as a reference point, I previously had a Shuttle 9.2 with a Big Baby 2, and when I moved to powered speakers I was very happy with an RCF 732-A (which is a 12" speaker) - it was just as good in terms of sound quality and volume level. Can handle a 5-string bass no problem. If anything, it was overkill for the 10-piece wedding and function band I'm in, and I ended up getting something smaller and lighter (currently using a QSC CP12).
If on the other hand you need louder, their 15" models are the 735-A and 745-A, as recommended above.
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There are many good options and so it depends on the following...
What is the genre and volume level of your band? What rig do you currently use?
Is this powered cab just for stage monitoring (i.e. the bass is going through the PA) or do you need to fill the room? If you need to fill the room, what capacity venues do you play?
Do you have a max price in mind?
Do you care how much it weighs - would it make a difference if it was 15kg vs 20kg?
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I'm not saying don't ask - apologies if it came across like I was discouraging discussion. You received good suggestions, including: variable HPF, powered speakers, GK combos, a larger Phil Jones, Markbass - I'm wondering if you had any luck with any of those? Otherwise you might just receive the same suggestions each time. There are indeed some new killer combos out there like carbon GR Bass and Markbass's MB58R lines, but they won't solve your problems of boxy sound and feedback - they still have the same EQ options and limitations as less cutting-edge combos. They are just lighter in weight.
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14 hours ago, Paddy Morris said:
Morning all. I've had a PJ Two Four for a few years now.
You asked about amps last year and received a few replies - but I'm not sure you followed up. Did you try any of those suggestions (just so we don't go round in circles)?
https://www.basschat.co.uk/topic/467819-boomy-amp-issues/?do=findComment&comment=4833787
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21 hours ago, SuperSeagull said:
I adjust the freq control to the point that it sounds a bit rubbish then dial it back a bit.
+1. Many people go by a specific frequency or number on a dial - but yours is the correct way!
QuoteI now need to see what the phase switch does!
Francis Deck (designer of the Rafferty) puts it like this:
"Flip the phase switch. The feedback will get worse, or better. You want it to be better."🙂
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9 minutes ago, Frank Blank said:
a company in Manchester called TinyTone. I did a search on Basschat and couldn't find any TinyTone content
Same company (or same person) as Jack's Instrument Services - I've only ever seen good feedback here, and I too was really happy with the pickguard he cut for my Yamaha BB.
Photos of the Mustang with the new pickguards...?
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19 hours ago, jrixn1 said:
Yes - I emailed Bass Bros at the weekend and haven't heard back.
To follow up on myself, Will emailed me back today - my message was in his junk folder. I think people must know that legit stuff does sometimes end up in junk and it's something that you need to keep on top of more than once a week. Anyway, I'm not enraged or anything like that.
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27 minutes ago, soulstar89 said:
I was wondering if anyone has gotten in contact with bass bros within the past weeks?
sent a message via what’s app link and then email but no response as yet.
Yes - I emailed Bass Bros at the weekend and haven't heard back. This is the second time I have posted on this thread, having had a similar lack of reply last time (January). I feel in the minority as there is so much good feedback here, and I would like to do business with BassBros - but if he doesn't reply than I can't, so again I have gone with a competitor. I just looked on their Facebook page and he seems active within the last couple of hours, so I don't know what's going on 🤷♂️
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Do you play upright? It opens up a lot of gig opportunities.
As for non-musical work - I did some van couriering back in the day. I don't mean parcelforce/amazon; but business to business, same-day work - lots of goods on pallets which needs delivering immediately straight from the printer/factory to their clients. I was self-employed and could work however much or little I wanted each week. There are upfront and ongoing costs to owning a van, but it's really useful for your own gigs too, and you can also pick up other man & van work e.g. light removals.
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Final bump - the bass is going to a shop for a commission sale at the weekend.
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The 'Do Not Track' idea failed years ago. "DNT is not widely adopted by the industry" - https://en.wikipedia.org/wiki/Do_Not_Track
Hardly any websites pay attention to it. In fact here is a list... (it's very short!): https://allaboutdnt.com/companies/
You can read about your right to erasure here: https://ico.org.uk/for-the-public/your-right-to-get-your-data-deleted/
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I think skipping a string will get easier over time.
Are you able to mute the unwanted string with your fretting hand, in case you do brush it with your plucking hand?
Or can you play some of notes in a different position, so that you don't need to skip a string in the first place? So in your G, D, E example that would be G at the fifth fret on the D string, D at the fifth on the A string, and then the open E.
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You don't generally get time signatures like 14/8, 16/8, or 2/8.
The version I listened to was https://www.youtube.com/watch?v=rhzmNRtIp8k
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The intro starts with four bars of 4/4.0:07
The drums come in and you have two bars of 7/4, then two bars of 4/4. (Some people might write each 7/4 bar as a bar of 4/4 followed by a bar of 3/4.)0:16
Four bars of 4/4 (a bit like the first four, but now with the full band).Perhaps a metronome at 145bpm could help the guitarist hear where the parts sit?
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P-Bass knowledge wanted… particularly MIJ ones…
in Bass Guitars
Posted
Not Japanese, but mentioning as an option the Fender Nate Mendel which has the TV logo and is lightly roadworn. I've had one in the past and currently have a (non-US-pickups) CIJ PB62 - the Nate was great but I prefer the PB62.