Jazzjames

[quote name='therealting' timestamp='1487256384' post='3238422'] Why not both? Most of us have bought instruments because they look cool for one reason or another, and most of us have decided not to buy otherwise fantastic instruments because they didn't like the way they looked. What's wrong with getting a bass because you like the way it looks? Is getting a newer bass that has been reliced to look old any less honest than buying an older bass that has been refinished to look new? [/quote] True. It is nice when the instrument is visually pleasing, but the priority has to be sound and playability. The clue is in the name, it's an [i]instrument.[/i] Is getting a newer bass that has been reliced to look old less honest than an old bass that has been refinished? Simply, yes. I played a Fender custom shop Jazz relic for a couple of years and I really liked it. I bought it because it was the best Jazz in the shop, and the neck was so nice to play. The relicing didn't look fake like a lot of the non-Fender knock-offs that you see about, and the used price made the bass quite good value. But something like a reliced Sandberg, an instrument that didn't even exist 20 years ago, is stupid in my opinion.

If you find an instrument that plays really well and it happens to be reliced- go for it, that's cool. But to buy one because it's had that done to it? I think you need to think carefully about why you want the instrument. Is it to look cool or to make music on?

[quote name='govons' timestamp='1486654881' post='3233596'] thanks mate. Any experience with AI? I am also giving up to Glock due to high price out of the budget. [/quote] I've played through numerous AI combos on jam sessions. I tried to play a couple of times with my P bass (because the house bassist's upright was set up like Mingus would've had his!) and I didn't like them. My suggestion would be to find a second hand Genz Benz shuttle 6.2. I had the 3.0-10T combo and I regret selling it. Lovely sound.

I found the glockenklang sounded very dry and flat. Not my thing at all. I owned the Epifani but found it to sound very wide and difficult to EQ for different rooms. Nice core sound though.

[quote name='Greg.Bassman' timestamp='1485720911' post='3226143'] [size=3][font=Calibri][color=#000000]Hi all.[/color][/font][font=Calibri][color=#000000] Hope you[/color][font=Times New Roman][color=#000000]’[/color][/font][font=Calibri][color=#000000]re well. [/color][/font][/font][font=Calibri][color=#000000]Ok so, I[/color][font=Times New Roman][color=#000000]’[/color][/font][font=Calibri][color=#000000]m a seriously light player; opting for the lowest action I can [/color][/font][/font][font=Calibri][color=#000000]get[/color][/font][font=Calibri][color=#000000].[/color][/font] [font=Calibri][color=#000000]As much as I love it[/color][font=Times New Roman][color=#000000]’[/color][/font][font=Calibri][color=#000000]s tone, I[/color][/font][font=Times New Roman][color=#000000]’[/color][/font][font=Calibri][color=#000000]m afraid that my Fender jazz (9.5[/color][/font][font=Times New Roman][color=#000000]” [/color][/font][font=Calibri][color=#000000]radius) isn[/color][/font][font=Times New Roman][color=#000000]’[/color][/font][font=Calibri][color=#000000]t quite cutting it in the way of playability; the[/color][/font][/font][font=Calibri][color=#000000] action kills my left arm and fingers[/color][/font][font=Calibri][color=#000000] and I find myself choking during fast runs. [font=Calibri][color=#000000]My local luthier insists that he has taken the action to the lowest it can go without '[/color][font=Calibri][color=#000000]buzzing' (much to my dissatisfaction). [/color][/font][/font][/color][/font][font=Calibri][color=#000000]I decided to persevere regardless, hoping that this may disappear with practice; but a few years down the line, I still seem to be fighting with the ol' jazz.[/color][/font] [font=Calibri][color=#000000]Anyways, I[/color][font=Times New Roman][color=#000000]’[/color][/font][font=Calibri][color=#000000]ve heard that it is easier to achieve an ultra low action an a flat-radius fingerboard[/color][/font][/font][font=Calibri][color=#000000];[/color][/font][font=Calibri][color=#000000] many 'flat fingerboard converts' noting[/color][/font][font=Calibri][color=#000000] the[/color][/font][font=Calibri][color=#000000] increased comfort and dexterity-[/color][/font][font=Calibri][color=#000000] presumably, because of the low action and string-string evenness. [/color][/font][font=Calibri][color=#000000]Could this be the move for me, and what things should I [/color][/font][font=Calibri][color=#000000]keep in mind when making the switch?[/color][/font] [font=Calibri][color=#000000]P.S - Any 'flat radius' bass model suggestions would be appreciated. [font=Calibri][color=#000000]I[/color][/font][font=Calibri][color=#000000]deally something based on a jazz bass profile, 4-string. My budget is [/color][font=Times New Roman][color=#000000]£[/color][/font][font=Calibri][color=#000000]1000. [/color][/font][/font][/color][/font] [font=Calibri][color=#000000][font=Calibri][font=Calibri][color=#000000]Cheers.[/color][/font][/font][/color][/font][/size] [/quote] Let me preface this by saying I have no idea how you play, and whether music is your profession or not. I believe that playing with a low action really limits how one can play. With a (relatively) higher action the tone is markedly better to my ear. If you are chasing a super low action because you think it sounds better, cool. But a lower action because you can't play with even a medium action tells me there's probably something funny going on with your technique that's causing the pain, not the bass. I would suggest you have a lesson with a good teacher and see what they say about your technique/posture because a lot of issues we think we have with instruments can be solved simply and inexpensively. Does it sound like I might be onto something, or wide of the mark?

I use a warwick hellborg power amp because I wanted a no compromise rig that would communicate my tone with authority and clarity. Job done. It weighs a lot though!

[quote name='TrevorR' timestamp='1485593376' post='3225107'] Hmmmm... from the man who plans a "show you all my basses video" and doesn't make sure all his basses have all the right number of strings on. I think that tells you a lot. Inherent design flaw/user error...? The debate continues... [/quote] Yeah I know, right? Still, I thought it was pretty funny...

My life with active basses at 10'45"

Just to say, Scott Devine just articulated what I thought about his active buffer P bass. This is specific to P basses may I add. I like an active J, but for me, a P bass is best served passive. 8'40" or so. https://youtu.be/w67QVgO21Cg

[quote name='Bilbo' timestamp='1485296141' post='3222955'] That Suitcase album is absolutely superb. AJ is so far in advance of most players in terms of harmony and note choices, it's unreal. [/quote] Absolutely!

"Wherever I lay My Hat" by Paul Young is Pino he did indeed use his fretless Stingray. I'm a big fan on Pino whether or not he's playing a passive bass. Active basses sound different to passive basses, not better or worse. The Stingray has a vibe all on its own, I dig it. At the moment I gravitate towards passive instruments because I can get the sound I want to create without an onboard preamp.

People will buy these. They've made a good business decision to try and get in on the vintage thing. Me personally, I'd rather spend my 4k on a mid 60s refinished P bass which has been well looked after and maintained. But that's just me. You've got to be pretty crackers to order one of these and not play it before you pay for it. You can guarantee that at this price level the workmanship is going to be incredible. But you can't guarantee that it will sound amazing. Some basses are just really average. Foderas too. Best wait a few months for some to crop up second hand and go and try one and see if it's worth it.

[quote name='Ghost_Bass' timestamp='1484844806' post='3219043'] Ah, good for you. Nice to be that busy playing Now i clearly see where you're comming from in your opinion. Well, i must say it's really normal to go through batteries like you did. The cool thing with that bass you had is that you allways had the choice to flip it to passive when needed and Glock preamps are excelent at reproducing the same sound and volume flat as they are active with knobs at centre position. In adition it offers passive tone control in passive mode, really great preamps and my choice of preference for a natural non-colouring tone. If i was in your position i would probably use it in passive for classes and most rehearsalls leaving the tonal goodness for gigs thus saving battery life... hell! no i wouldn't! i would end up buying half dozen batteries a year and have great tone allways! Cheers [/quote] It was a lovely bass that one. A little heavy, but it will always be the bass I got my chops together on. That was before my P bass days though. Once I started gigging with a P bass, I never used it anymore.

[quote name='Ghost_Bass' timestamp='1484826101' post='3218772'] If you were going through a battery evry 6-9 weeks then either you played really a lot for long periods and good job for that or something was wrong with your setup - the preamp might been faulty or something that most people might not know is that to completely disconnect the battery when not using the bass they need to remove the jack, flipping the preamp to passive doesn't take the battery out of the circuit. [/quote] 4-6 hours' practice 6 days a week plus classes 3 times a week (playing there too), plus rehearsals, plus gigs every week. It all adds up I guess. I still loved that bass. A first generation Sandberg California 5 string Jazz. i don't think anything was wrong with it, it was just being played very often. When you have a bass that responds how you like and sounds great on every song without fiddling with the amp etc., it's a keeper.

[quote name='hiram.k.hackenbacker' timestamp='1484788223' post='3218523'] This ^ The battery argument is a complete non issue. I would never leave a bass plugged in when I'm not using it anyway and if you don't have the sense to check the battery once every six months (which is when I would normally check neck relief etc) then there is no hope for you whatsoever. [/quote] In my experience of using a bass equipped with a Glock preamp, the battery would last 6-9 weeks. That's practise plus rehearsals plus gigs as it was my only bass at the time. I was obviously doing something wrong... Too much practice? Too many gigs? Please advise. In all seriousness though, I think I made my point much earlier in the thread- I prefer the sound of passive instruments right now. That's the main reason for me.

https://youtu.be/czK3IjnM_oE Here's the video with Chris May from Overwater talking about the Overwater P bass. 9'20" is when they start talking about the active buffer inside the precision bass. From the subsequent videos with this bass, I not a fan. I think his Nate Mendel P bass sounds better to my ear, and I attribute at least some of that to the 'cleaner' sound the Overwater has. If you like that sound, then cool. Me, not so much. I have no dislike for other people playing active basses, but I just don't need one.

[quote name='Grangur' timestamp='1484690976' post='3217638'] Scott's Over watter has a battery compartment at Chris's insistence just in case Scott changes his mind about having the bass passive. In fact Scott's Overwater is passive even if the Scott Divine signature bass may be active. I know about this because Scott talked about this in the Academy. [/quote] Is that his P bass or his 5 string you're talking about? I was under the impression his P bass was being run with an active buffer to combat signal degradation down the jack cable. If I'm wrong I stand corrected!

[quote name='Bolo' timestamp='1484638035' post='3216967'] 1. Personal preference again. 2. What about different styles of music? 3. What about the £3 patch cable on your pedalboard or kettle lead? The wire from the pickup to the Jack? There are so many cheap parts in a signal chain it's amazing anything works :-D [/quote] 1. Yes, my preference. 2. I'm afraid I don't understand this fully. If I need a different sound; 1) I change the way I play the bass. 2) I change the tone control 3) I (very rarely) change something on the amp. It really is all in the fingers. I know from experience that I end up making minute adjustments to the bass boost or whatever when really I should just be listening and adjusting my touch. I have become a better player as a result of this. 3. Yes fair point, but if you take care of the cables they will last. A battery wil definitely fail at some point. In my experience cables don't fail all too often. I replace them when they look tired. I double on upright a lot and play multiple nights in the same theatres. I don't have to unplug my bass, or rather if I forget, no big deal. The only technical issue we ever encounter with any frequency is the battery of the acoustic guitar preamp dying mid gig. Thankfully the main man has swapped out that active preamp to a passive one recently. And there's distortion with most of the 9v preamps, which I don't like the sound of. Sure there's some loss with the lack of an active buffer on passive basses when connected to a long cable. However, the case in point is Scott Devine's active buffer equipped Overwater P bass. I find it sounds too toppy and clean for me. I prefer the sound of his other passive P basses. Again, my opinion. Sometimes 'better' from a technical standpoint, isn't. I just like the sound and response of passive basses.

[u]Anthony Jackson, James Jamerson, Jaco Pastorius, Pino Palladino[/u]. They all played passive instruments, and their tone is amazing so any argument for better tone goes out the window. Different tone, sure. Think Marcus Miller for that, but that's not what I'm going for. I just don't like fiddling while I'm playing. If I need to change the tone, I change what I'm doing with my hands. And you only need it to happen once when a battery fails on stage to know that relying on a £3 battery as a crucial chain in your signal path is not cool.

Hi everyone, Here's a little something I recorded last night after working on this line for a few days. You can see the notation on my website. The link is in the video description. [url="https://youtu.be/LwdjfNtCl0k"]http://www.youtube.com/watch?v=LwdjfNtCl0k&ab_channel=Jazzbassjames[/url] This live album is awesome. "The Suitcase" by Steve Khan with Anthony Jackson on bass and Dennis Chambers on drums, recorded live at Stadtgarten, in Köln in 1994. The intensity of this outro is immense. The shift from the 12/8 to the 6/4 feels huge, and the way AJ attacks the new meter is incredible. His ideas and phrasing, allied with his execution are an amazing combination. This transcription really underlined to me how much AJ has studied the great Motown bassist James Jamerson and his use of chromaticism. The use of open strings within these lines is interesting. I have notated a lot of them on the transcription below. Bar 14 is a good example of how the open strings get used as passing notes down to the next note. This originally comes from upright bass. AJ wrote a really interesting transcription and analysis of Jamerson's bassline on "How long has this evening train been gone", which appears in the book "Standing in the Shadows of Motown". I recommend you check that out, and then you can see his findings at work here and on the rest of this album. The most challenging aspect of getting this piece 'together' for the video was controlling the notes on the B string and getting them to be clear and controlled. AJ is a master of this register. He makes it sound so easy... Anthony Jackson is a huge inspiration to me and is one of the great musicians of our time. James

I'd simply be patient and find the shops that take these sort of instruments in and go and investigate when they do. But buying privately is fine if you find a nice buyer. I'd be looking japanese, I don't see the appeal of the new fender USA stuff. My early 90s 57 reissue cost my 600 quid and it's a blinder. As previously mentioned, a Nate Mendel sig. would be a good call. I tried one recently and it was lovely. Horrid finish on the back of the neck but that could be easily sorted. I was very tempted!

[quote name='Bilbo' timestamp='1482479201' post='3200846'] I have, JJ. I absolutely love it. There are other great trios Swallow did wit Lee Konitz, David Liebman and, my favourite, Ohad Talmor. Swallow is my man. [/quote] Great! I need to dig out that Talmor one with the green cover, I haven't listened to that one much yet. I met Adam Nussbaum once. A very nice guy, and had lots to say about Swallow. A prolific musician for sure.

Aguilar TH500 user here. A great little head, but it does have its limitations. It's lovely for smaller gigs, especially on upright, but when I'm playing loud music or on big stages, my Ampeg/Hellborg rig comes out. Using the same DB112 speakers may I add. I haven't found a neo cab that I liked the sound of, yet!

[quote name='Bilbo' timestamp='1199969832' post='117773'] I was just listening to a Steve Swallow track called 'Re-Inventing The Wheel' (recorded live at Ronnie Scotts for the cd 'Always Pack Your Uniform On top') and I was overwhelmed by a wave of visceral excitement at the beauty of it. It features an opening cadenza by guitarist Mick Goodrick, a beautifully understated guitarist (now THERE'S two words you'd never expect to see in the same sentence!) and builds with some beautiful playing by Chris Potter (sax) and Barrie Ries (tpt). Adam Nussbaum on drums... gorgeous. It reminded my of all of the reasons I love music and jazz in particular. Emotionally profoundly satisfying. I listen to jazz a LOT and just LOVE it. There are some beautiful players out there weaving some real magic without a shred of testosterone. Art for Art's sake. Love it. This stuff deserve passionate advocacy and so I am here to tell you all.. [size=5] Put the barre chords down and LISTEN!!! [/size] [/quote] Have you heard Swallow's album Damaged in Transit? Trio album with Chris Potter and Adam Nussbaum. It's one of my absolute favourite records.

[quote name='Dan Dare' timestamp='1481725952' post='3194590'] Did you mean expensive? [/quote] Lol!