4 Strings

Thanks guys, set of Tru Bass tapes on the way. I'll report back.

I need to sound like an upright but have (and can only really play) an electric. I have a Precision and a Jazz Deluxe, I have flats on the Precision and it is ok, but rather flat sounding and thuddy, doesn't have that resonance and tone of an upright bass. Any recommendation for some strings that would help? I'm assuming some type of flat wound, but not necessarily the case. Thanks

The American Deluxe has a slightly different body than the US Standard to accommodate the extra couple of frets. An easy recognition thing is the three scratchplate screws at the bottom instead of four. I notice the Long Horn has a similar scratch plate. As these are variations from the Standard theme from around the same date are they the same body?

I've never needed a spare bass at a gig in 30 odd years of playing. I used to bust the occasional string years ago (usually having been boiled a few times) but it doesn't take long to put a new one and that's better than playing a different bass for the rest of the gig. Must be 20 years since I broke a string. However, I always carry spare strings, a lead, fuses. Have blown a fuse, can't remember needing a second lead (gigging leads are never cheap ones). I took a spare head for a little while but that novelty wore off without it being used. A second bass for me is an old banger Precision, picked up all the time and used for rehearsals, practicing at home etc. For gigs its a pre-EB Stingray that I dearly love but couldn't afford to replace. So, in answer to the original question, yes it does resemble it in that it's a fairly broad but slim maple neck that is comfortable and designed by our hero. I have a Jazz but that's too different for serious use, its not familiar enough for me. Nice bass though!

I appreciate the mods view. It isn't a problem so don't change anything. If someone just wants to sell to a good home and can't find anything to say on a forum (or doesn't want to), so what? Of course we'd like him/her to, but we can't force anyone. And if they want to buy or sell something, that's great, might be the bargain we've been looking for.

Can't remember what the numbers stand for.

Fender American Jazz Deluxe, well known for lightness in weight (and massive sound too!)

Cylindrical cab? Throw it in the boot of the car and sub all the way home too!

[quote name='xgsjx' post='1157589' date='Mar 11 2011, 07:27 AM']The 2x12 has a bigger frequency range & goes down just 1hz less than the 18 (according to the Hartke specs anyway). Also, you'd need an amp that's ok with a 2 ohm load to add the 2x10, as that 18 is 4ohm.[/quote] Yeah, I know, still use it though with no problem, the volume control is hardly at 25% for gigs with the big boy plugged in so at a nominal 3 Ohm total the amp's not really struggling or getting hot. (Don't forget the actual impedance is related to the frequency, only deep notes will go down to low resistance, most of the time the total resistance will be much higher). The specs might say that about the 2x12 but, believe me, this thing is an earthquake. (Spec for my hi-fi speakers goes lower in frequency but there's no comparison). The 2x10 I use (Hartke 2.5) also goes lower in spec and has a much more useful range of sound in practice and gets used all the time. Great little cab. Just doesn't have the deep power of the 1800 cab though.

[quote name='algmusic' post='1157412' date='Mar 10 2011, 11:16 PM']I'm not hear to offend. If you read the original post. It's in relation to the BS said in the video.. If you're happy with you're 1x18, good for you. My setup is super light because I gig sometimes 3 times a week and sometimes even use public transport and light rig is just common sense, I can get alot of volume low 'thunder and punch' these days with great sound modern or vintage with growing a tail Video referred to the 'only option of a suitable bass rig is a 4x10 and a 1x18'????? Then again, you never know what i'm gonna do :-)[/quote] Heh, don't worry, it was tongue in cheek, I know my 1x18 is nuts, I never actually NEED it, just have it for fun. I'm also out 2-3 times a week and this thing has accompanied me just twice since I've had it. I certainly agree that the guy in the video is not the first place I'd send anyone for advice (on anything!).

Well, I'm hurt now. I actually have an 1x18 in my rig like this one: [url="http://www.musiciansnews.com/ha/hartke/hartke_pro_1800_new_pro_series_bass_cabinet_speakers.shtml"]http://www.musiciansnews.com/ha/hartke/har..._speakers.shtml[/url] Only a 2 x 10 to go with it. I look forward to opportunities to use it, only had two so far. Yep, weighs a ton but it tips back onto wheels with a handle and so is actually easy to move (but not lift - but then the other guys in the band love it so they don't mind helping!). Fact is, the sound is totally monsterous. The amp volume control needs halving as it is incredibly loud and really shakes the ground, really does. Clarity? No, more clear without. Deep bass? Yes, in ship loads. Once you get used to it using just 'normal' cabs is a bit boring and empty without that deeeep punch. Needs a lot of care to get the tone sorted so you don't lose definition, totally changes your regular settings and getting the opportunity to play around with tone isn't easy. Regarding clarity, I suppose you could say that it gives you an enormous, earth shaking bass with ease and without distortion but it doesn't ADD to clarity, without care it can muddy things up. But, goodness me, its fun! (ps I understand what people say about a speaker size not having a particular sound, this may be true although in this case the cab has a huge volume hence its performance)

I think this might be considered controversial. Its likely your lead will make a bigger contribution to your sound than fingerboard material on a fretted instrument. The string vibrates between the metal fret and the metal bridge. If a discernible difference can be heard from a hard wood setting for the fret and a slightly harder wood setting then the relatively soft maple will sound warmest, rosewood, being harder, less so, and ebony, the hardest wood in the world, brightest of all. (Remember how harsh aluminium necked Kramer basses sounded - or were considered to sound - in the 80s?) Trouble is, the glossy, light coloured maple fingerboard on Fenders LOOK like they will sound bright and their single wound pickups make them so. (Try an old Telecaster bass with the humbucker to hear some real warmth from a maple fingerbopard.) The lacquer cannot affect the sound, it can't keep any sound 'in' or reflect any vibration and the pickup is the other end anyway. I have an ebony fingerboard on my Jaydee (in my little sig pic) and, being so hard, it will last a jolly long time, the reason for its choice on fretless and upright basses. It certainly feels different to lacquered maple fingerboards and the reverse colouring makes a difference to the player when swapping between them, but an ebony sound? A long way down the list of contributions to the Jaydee sound.

One of the things for which I'll always be grateful to this forum is the introduction to flats. Still don't use them for everything it's horses for courses for me (in fact its the sound I have spent many years avoiding). However, now converted and for playing the old soul and Motown, with the tone 3/4 rolled off on my P, I am absolutely delighted. Still use rounds on other basses for everything else but I aim for an upright sound with the flats by muting with my palm on the bridge and plucking with my thumb. Only do this for a couple of songs (Jimmy Mac for example) and use fingers for others, but what a great sound. I would love to try flats + Jazz + pick to try for a Wilton Felder sound (easy as ABC etc). Its all fun, learning and helped me appreciate many of those old bass players. For the ultimate sound its the Spencer Davis Group for me, Keep On Running and Gimme Some Lovin'. Have a listen for inspiration (and feel the hairs on the back of your neck for that Hammond sound on the second one there!).

Or a Barefaced (The only thing I ever draped over my cabs was a union jack, long time ago though.)

Of course a B15 Ampeg fliptop or the Kustom with 15" speakers like the man himself is the answer (having put flats on the P and 3/4 of tone rolled off) but if you can remove looks and prejudgements for a mo, I play in a Motown tribute act and we have taken as much trouble as poss for authentic sounds. Along with the P + flats I use my Hartke 3500 and their 2.5XL. Unfashionable, looks wrong and ally speakers shouldn't be the thing but it sounds superb in this role and has attracted quite a few comments (shame they weren't about my playing!) warm and deep. Cost a fraction of that original equipment - which I would love! - but, believe me, flat settings apart from a bit of a lift on the 'low pass' misnomer and it works. Way more power than the originals too.

For the music you described a suitably powerful sound would be available from an american Jazz Deluxe. A super-wide range of sounds from the two active pups. Thin neck, fat sound, wasn't that the brief?

Its a guy named Heath and he's selling a couple of his basses cheaply at the moment. A friend of mine endorses them and his bass is a work of art. It is breathtaking and stunning, beautifully crafted. I can certainly vouch for their quality, they also have a mind boggling choice of woods! I can't say much about how it plays as I was frightened to go near it. My mate absolutely loves it. Give him a call (details on their web site) and have a chat. Very nice chap.

Thanks, unfortunately it has just become big (for me) money and so I've had to walk away anyway. 'Tis a rare finish but the unusual pickguard and serial made me do a bit of research but all checked out ok (I know quite a bit more now!). Its rather knocked around and so I expected it to go for a lower price. Shame, horrible when you set your heart on things like that! (the eighties has no magic pull for me, only that the basses made then might be a bit cheaper!) I'll send a link once its gone

[quote name='Biarnel' post='1120457' date='Feb 8 2011, 07:11 PM']Actually, it's not That bass has deep tonal chambers, giving it a nice peculiar sound. It also has handwound low impedance pickup, for improved clarity and dynamic range. And about the fingerboard.. it's birdseye maple, quite stunning "in person" By the way, I'm the italian luthier who makes those basses [/quote] Forgive not having come across the term before, but what are 'deep tonal chambers'?

Thanks Lawrence, that helps with the string through and the pickguard. My recent Google trawls have shown the string through thing to be ok too (shame though!) Anyone know of a net resource for Jazzes (like [url="http://www.musicmanbass.org)"]http://www.musicmanbass.org)[/url] which has these sorts of details?

Hi All Don't normally post anything from the dreaded ebay in case it upsets anyone's strategy, but this one has now gone. Its serial no. is 0026xx which makes it one of the first 2000 made (no.1 was 1000). Looks to have been converted to fretless at some stage. Thought it might be interesting for MM enthusiasts (who may well have spotted it already) to see a really early model despite the neck binding. Well I thought it was interesting...!

Looking at a standard (dot marker) US Fender Jazz bass, purporting to be from the 80s. Its not a string through body, I thought all but certain models were, only the Mex or other 'specials' were top loaders. Also, are Fender scratchplates always chamfered? (Would a standard white one be single ply?) Lastly, its seems to have one serial digit short on an otherwise perfect headstock. Can anyone help? Be very grateful. Many thanks

These guys have all given good advice. You should be able to get the variation you need from your bass and your hands. I would recommend round wounds, do the palm muting thumb playing for the dub stuff (this is the way to play it anyway) to muffle off the treble, and, of course there's the tone control. The P type pickups on your bass should give plenty of grind. What I would also recommend s a ported type bottom end speaker (try one of Alex's, he was kind enough to answer!) to plug into your Trace to get those deep lows. Will make all the difference, don't get too much of those lows from the 4x10 combo, its a slim cab. Need a deep one. (If you don't do the palm mute thing, don't worry, easy to learn, I had to learn quick to emulate a double bass sound for a couple of Motown numbers. Get past the thumb blister period and you're away to a great technique)