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The perfect Jazz, Precision and Musicman


ped

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Although my 'No.1' bass has been my go-to for as long as I can remember, I have always loved the sounds of P, J and MM basses on albums I grew up with, from Sade, Steely Dan, that sort of thing. At the same time, I resisted getting basses like that because I wanted to have my own sound, rather than to play an instantly recognisable type. 

 

Eventually I realised it would be great to have one of each as a 'tool' to vary my tonal palette and closely match the sounds I recognise. Having a range of basses also helps me feel inspired and I fall in love with each bass anew when I discover a great track I want to play along with. Also, and this might sound weird, but as 'The Bass Guitar' as a 'Thing' has been so important in my life, both through BC but also in making friends, playing in bands and generally providing the foundation to my pre-child-and-wife days, I believe collecting examples of the seminal developments in bass is excusable from a collector/historical record perspective. Just researching the ins and outs of how these basses came about, leading to things like the Vigier (it was the 80s), is really interesting. Although I'd probably not share that in public for fear of beatings or at least an uncomfortable silence, I feel I won't be attacked for it the same way here, in part because you can't reach me but mostly because I know you'll provide me with the conformation bias I crave.

 

So after much experimentation and false starts, I have now amassed a collection of what I would consider my 'best' J, P and MM. When it comes to the MM, I have only played a few and owned two others, so I don't have as much to compare there. But as stated in another thread, nobody (or very few) luthier/companies make a 'take' on the MM bass like they do the J and P (apparently Ernie Ball are quite lawyered up) so I went straight down the line and got a Musicman for the job.

 

When I say 'false starts' - it's often not the way the bass sounds, but the setup I am able to achieve on the instrument I've had previously. I like a flat neck with very low action, and not every bass can do that in the same way. This has led to some painful realisations when I've had to move on otherwise fabulous basses. If I can't play it effortlessly (I don't make effort very often), then eventually it gets moved on, normally to someone who says 'how the hell did you play it with the strings painted on like this'

 

So here we go:

Let's start, illogically, with the bass that's NOT a J,P or MM. It's 'My' bass - it has a sound all of it's own, but it's smooth, focused, detailed and consistent. I know exactly how it sounds in studio, live, amped, the lot - and it's a very versatile bass. It's been likened to sounding like a 'velvet brick' - kind of like a Modulus flea with a wider range and glassy almost digital response. 

 

It's a 1988 Vigier Passion Series II (Graphite neck) with a Marleaux pre, Basstec pickups and Roland GK system (I'm sure lots of you know it already)

IMG_5200.jpg

 

 

Next, the P bass. It's a G&L SB-1 from 1991. Strung with Labella light flat wound strings, it thumps and bites. The pickup is fantastic, with a huge range of sounds on tap by backing off the volume or tone. I nearly sold this when I nearly gave up on the idea of collecting the set but soon realised that I wouldn't get another like this. 

IMG_5198.jpg

 

 

So what's next - Here's the Musicman. It's from 1983, the last year before Ernie Ball Made some changes, many probably for the better, but I love the fat slab body and the response of this bass. I have yet to try it with flats but with Elixir 40-95s (which I use on every bass except the G&L) it has that super poky top end which cuts through any mix, and the sound of pops on the G is just perfect. The previous models I had sounded a bit brittle, whereas this one sounds warmer and more 'chunky' somehow, although my setup has changed so much I can't compare for certain. 

IMG_5199.jpg

 

 

The Jazz bass with the final hurdle. I actually didn't realise for a while that the 60s and 70s spacing on a jazz made such a difference, and when I did I wasn't in the space to buy one. I have had several 60s types in the past but never got on with them, finding the sound a little too rounded for my tastes. So after a crusade to play as many 70s basses as possible (knowing the quality and weight can vary substantially) I realised the best way to get what I wanted was a modern 'take' on a vintage bass, which, more often than not, needed work to support my lazy setup. The search was on - and this is where I ended up. I wasn't able to try it before I bought it so it was an anxious wait and unboxing and restringing and plugging ining, but the reputation of the Celinder J-Update is richly deserved. It's got that grinding, airy feel where the notes have that top detail and a slap sound so consistent and rich you feel like you can bite it in mid air.

IMG_5197.jpg

 

 

Oh and there's my 16" Wingbass with Roland GK pickup. Amazing little thing, perfect for playing synths or noodling around the house. The build quality is superb - beautifully carved black limba with a maple top. Guess what, the neck is dead straight because it's a plank of wood on the body, so the thing plays effortlessly and sounds huge. 

 IMG_5203.jpg

 

So there we go - If you are still awake, well done. Time to take Sybil for a wet walk.

ped

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32 minutes ago, JohnR said:

Lovely choice of basses. Can you tell me where you got the flight case?

Sure I THINK it was eBay a while ago - it's a Fender case allegedly although there's no branding on it. I presume they were licensed or copied from Scott Dixon types (or the other way around?)

Although it seemed like overkill at first, it takes up very little room compared to the Warwick bass rack it replaced, and of course it can be closed to protect the contents. It has wheels too and doesn't weigh that much (all aluminium)

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  • 1 month later...
  • 4 weeks later...
On 29/10/2020 at 15:18, ped said:

IMG_5201.jpg

Although my 'No.1' bass has been my go-to for as long as I can remember, I have always loved the sounds of P, J and MM basses on albums I grew up with, from Sade, Steely Dan, that sort of thing. At the same time, I resisted getting basses like that because I wanted to have my own sound, rather than to play an instantly recognisable type. 

Eventually I realised it would be great to have one of each as a 'tool' to vary my tonal palette and closely match the sounds I recognise. Having a range of basses also helps me feel inspired and I fall in love with each bass anew when I discover a great track I want to play along with. Also, and this might sound weird, but as 'The Bass Guitar' as a 'Thing' has been so important in my life, both through BC but also in making friends, playing in bands and generally providing the foundation to my pre-child-and-wife days, I believe collecting examples of the seminal developments in bass is excusable from a collector/historical record perspective. Just researching the ins and outs of how these basses came about, leading to things like the Vigier (it was the 80s), is really interesting. Although I'd probably not share that in public for fear of beatings or at least an uncomfortable silence, I feel I won't be attacked for it the same way here, in part because you can't reach me but mostly because I know you'll provide me with the conformation bias I crave.

So after much experimentation and false starts, I have now amassed a collection of what I would consider my 'best' J, P and MM. When it comes to the MM, I have only played a few and owned two others, so I don't have as much to compare there. But as stated in another thread, nobody (or very few) luthier/companies make a 'take' on the MM bass like they do the J and P (apparently Ernie Ball are quite lawyered up) so I went straight down the line and got a Musicman for the job.

When I say 'false starts' - it's often not the way the bass sounds, but the setup I am able to achieve on the instrument I've had previously. I like a flat neck with very low action, and not every bass can do that in the same way. This has led to some painful realisations when I've had to move on otherwise fabulous basses. If I can't play it effortlessly (I don't make effort very often), then eventually it gets moved on, normally to someone who says 'how the hell did you play it with the strings painted on like this'

So here we go:

Let's start, illogically, with the bass that's NOT a J,P or MM. It's 'My' bass - it has a sound all of it's own, but it's smooth, focused, detailed and consistent. I know exactly how it sounds in studio, live, amped, the lot - and it's a very versatile bass. It's been likened to sounding like a 'velvet brick' - kind of like a Modulus flea with a wider range and glassy almost digital response. 

It's a 1988 Vigier Passion Series II (Graphite neck) with a Marleaux pre, Basstec pickups and Roland GK system (I'm sure lots of you know it already)

IMG_5200.jpg

 

Next, the P bass. It's a G&L SB-1 from 1991. Strung with Labella light flat wound strings, it thumps and bites. The pickup is fantastic, with a huge range of sounds on tap by backing off the volume or tone. I nearly sold this when I nearly gave up on the idea of collecting the set but soon realised that I wouldn't get another like this. 

IMG_5198.jpg

 

So what's next - Here's the Musicman. It's from 1983, the last year before Ernie Ball Made some changes, many probably for the better, but I love the fat slab body and the response of this bass. I have yet to try it with flats but with Elixir 40-95s (which I use on every bass except the G&L) it has that super poky top end which cuts through any mix, and the sound of pops on the G is just perfect. The previous models I had sounded a bit brittle, whereas this one sounds warmer and more 'chunky' somehow, although my setup has changed so much I can't compare for certain. 

IMG_5199.jpg

 

The Jazz bass with the final hurdle. I actually didn't realise for a while that the 60s and 70s spacing on a jazz made such a difference, and when I did I wasn't in the space to buy one. I have had several 60s types in the past but never got on with them, finding the sound a little too rounded for my tastes. So after a crusade to play as many 70s basses as possible (knowing the quality and weight can vary substantially) I realised the best way to get what I wanted was a modern 'take' on a vintage bass, which, more often than not, needed work to support my lazy setup. The search was on - and this is where I ended up. I wasn't able to try it before I bought it so it was an anxious wait and unboxing and restringing and plugging ining, but the reputation of the Celinder J-Update is richly deserved. It's got that grinding, airy feel where the notes have that top detail and a slap sound so consistent and rich you feel like you can bite it in mid air.

IMG_5197.jpg

 

Oh and there's my 16" Wingbass with Roland GK pickup. Amazing little thing, perfect for playing synths or noodling around the house. The build quality is superb - beautifully carved black limba with a maple top. Guess what, the neck is dead straight because it's a plank of wood on the body, so the thing plays effortlessly and sounds huge. 

 IMG_5203.jpg

 

So there we go - If you are still awake, well done. Time to take Sybil for a wet walk.

ped

Ped that collection is amazing!!

The G and L neck looks very un p bass tho, slim and a joy to play!!

I'm finding I always gravitate back to my ibanez despite trying to get "the one" from fender or MM. I'll probably buy a player/performer jazz this year and the quest will continue but the one is an Ibby for the foreseeable.

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Thanks @horrorshowbass yeah the neck on the G&L feels great, I think the nut is 42mm so it feels like a P but the smaller body makes it feel a bit more modern I guess. The neck has gone a lovely caramel colour. 

Ibanez make some lovely basses.. not surprised you’ve looked to them for ‘the one’ aka ‘your sound’ - it’s great to find that first then start collecting other ‘famous’ sounds to have in the tool box!

Cheers

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49 minutes ago, ped said:

Thanks @horrorshowbass yeah the neck on the G&L feels great, I think the nut is 42mm so it feels like a P but the smaller body makes it feel a bit more modern I guess. The neck has gone a lovely caramel colour. 

Ibanez make some lovely basses.. not surprised you’ve looked to them for ‘the one’ aka ‘your sound’ - it’s great to find that first then start collecting other ‘famous’ sounds to have in the tool box!

Cheers

True, still looking for the perfect ray and jazz, all part of the fun I suppose.

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16 minutes ago, Reggaebass said:

Nice collection ped☝️, I think that’s a good way to do it, just have one really nice type of bass that you like, I’ve got 13 at the moment and I probably only rotate 4, I should downsize 🙂

I think everyone needs at least 4 image.png

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1 hour ago, Stingray5 said:

Doctor, for the last year or so, I have had serious cravings for a Bongo bass.... what should I do? 😵😍

Put a toilet seat around your head while playing your 'Ray and enjoy the experience without lower cost and less embarrassment...

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  • 2 weeks later...

For me;

Fender Roscoe Beck V

G&L ASAT

Musicman Bongo V HS

(I've yet to find a Precision that does it for me, but a HotRod P deluxe with a humbucker at the bridge came close)

I don't own any of those,  though. 

My Warwick Fortress MasterMan V scratches the MM itch quite well,  and the Infinity SN IV makes some nice noises, too.

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