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Smith Soaps vs. J's ... opinions?
Hello, Im currently looking for a Smith Bass, I am looking hard at the BSR J models, I have owned a BSR-MW with soapbars and it was not working out for me, I loved the bass, the feel...etc. I guess I need that J type of tone or some thing like. Maybe its a single coil thing, Being able to dial back to the bridge for that tight articulate/warmth.
I was hoping to find out the difference in sound between the soapbars and the J type pickups. Are there any sound samples you could point me to? And yes I do own a Jazz bass but want the Smith refinements, I am looking forward to coming back.... perhaps a Burner? thanks in advance - Tom |
#2
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I think the Jazz set up is a light clear sound, but lacks the fullness of soaps.
But, with the KS electronics I think you can dial in any sound you like. http://www.kensmithbasses.com/models...r5jmodel2.html |
#3
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I very much want a tight bridge type tone this may be a good fit. - T |
#4
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I actualy meant "light". To my ear the Jazz bass sound lacks some of the fullness and roundness of soaps. That may be different on a KS? |
#5
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anyway.... - T |
#6
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So many variables with tone; wood, neck, pickups, strings, etc. So it could have been something other than the pickups. |
#7
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Not that the tone was bad I just needed more cut.
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#8
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more cut?
The best way to eq the bass for cut is to cut the mids when you boost the treble and bass. This makes the sound tighter and notched so it cuts thru.
Try that! |
#9
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- T |
#10
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Cut the Mids? No.....
Am I reading or interpreting this correctly? If so and If you are referring to "cut" as the bass' ability to cut through the mix, I would disagree with the above statement (i.e. "cut the mids when you boost the treble and bass") being the solution, sorry. The Mids is exactly what you want in order for the bass to "cut" through the mix. It's not always pleasent to the ears, but necessary in difficult venues.
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Tim Bishop |
#11
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Like I said Ive only had the one Smith bass for a brief time, I did not really give it a chance and Im eager to get another one. But I did refer in my earlier post to looking for a "tighter" bridge type tone as well. |
#12
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Ok...
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__________________
Tim Bishop |
#13
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mids..
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#14
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- T |
#15
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Bass: 30Hz - 300Hz Mid: 200Hz - 2KHz Treble: 1.2KHz - 12KHz Again, the above frequencies, for each tone control, are theoretical for this discussion, but not unrealistic. If I knew the actual Smith Bass, Treble, and Mid Controls frequency ranges, I would've used those. Nonetheless, the above example will help represent my case well. In your explanation above, if you relied solely on "the upper end of the bass" (fully boosted) that include the "low mids" (or say 200Hz) and relied on the "lower end of the treble" (fully boosted) that include the "high mids" (or say 2KHz), you've just eliminated everything else that is Mid (i.e. everything between 300Hz - 2KHz). It is what is between 300Hz - 2KHz (that the bass and treble controls cannot cover) that I am speaking of. Without it, good luck trying to "cut" through the mix, particularly in a live setting. In the studio one can overproduce anything. I totally agree with your statement "the mids help shape the bass and treble". It's everything (bass, treble, and mid controls) from 30Hz to 12KHz that make the difference in the end. How the individual shapes that in the mix, makes all the difference for the bass cutting through the mix.
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Tim Bishop |
#16
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Well....
I can't comment on the Smith J's as I've not used them. I'm too happy with the Smith Soapbars to consider anything less.
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Tim Bishop |
#17
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anyway....... - T |
#18
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So I don’t think it’s a case that one approach works better all the time; it just depends on the situation. |
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