I've read this a few times, that it's a bass of preference for engineers because it cuts through the mix without a lot of tweaking.
That's interesting. Experience with that or have you heard it?
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I've read this a few times, that it's a bass of preference for engineers because it cuts through the mix without a lot of tweaking.
That's interesting. Experience with that or have you heard it?
Their preference for the Precision Bass might also be due to the fact that the P Bass's coils are wired out of phase, thus eliminating or minimizing hum and other spurious noises.
Yes, I had forgotten that. Had read it somewhere years ago.Quote:
Originally Posted by phantomman
I have heard that as well, and have experienced it. A lot of sound guys like a pbass with flats due to the lack of string noise and being easier to eq. I have been using a 72 jazz bass lately that has a bottom end that is deeper than others I've had. Use this with nickel plated rounds, and I haven't had complaints. All this to say producers and sound techs all have there opinions on what they want to hear. If you show up with a pbass, you'll most likely not have any issues.Quote:
Originally Posted by ch willie
I posted over at Talk Bass about John Entwistle wondering how he got that incredible tone on Quadrophenia. Now I know he's associated with roundwounds but I was amazed at the lack of clank in his sound. I guess it's different when playing live vs the studio.Quote:
Originally Posted by Bassmanbret
The Ox was just amazing. I think he could have taken a plank and a rubber band and made a huge sound out of it. In the Kids Are Alright (their spelling), his bass gets very growly and trebly, but full. Of course McCartney is my fave bassist, but the Ox runs a close second.Quote:
Originally Posted by DanTheBluesMan
The Ox was instrumental, no pun intended, in the development of roundwounds. John worked with James Howe, the founder of Rotosound, to develop the Roundwound string.Quote:
Originally Posted by DanTheBluesMan