I really appreciate your ability to get the 60’s vibe. I’ve got a Fender P-Bass with TI Jazz Flatwounds 344’s and some foam under the ashtray bridge cover, love the warmth! The Motown tone is so addictive!
I just did the same thing on my jazz bass, 3/8" thick X 1/2" wide black medium density closed cell foam rubber weatherstrip from Ace. Positioned it right up against the saddles. Labella flats, although i use a pick mostly but it sounds just like all the great Joe Osborn recordings
I noticed with foam mute if too thick or if you use the ash tray if it presses too much on the strings it will throw off the intonation. Just an observation I have made. I'm all about the foam mute , killing over tones. BTW I use Roto Sounds flats on my P-Bass love the tone.
I've tried the Nordy and yes, it does mute too much. Instead of the sticky backed foam weather strip stuck to the bridge ashtray, I simple use common grey air conditioner weatherseal (no sticky side and less dense) under the strings, cut to the ideal size. It's soft enough and sized to not make everything sharp or mess with intonation.
I do that as well on my fretless and my fender jazz bass. Works great like you said. I tried "the bass mute" , lots of side pressure if engaged beyond barely on, so you know what that did.
The Nordy is overpriced for what it is but it doesn't mute too much. You just need to adjust it. Pull it way off the string if necessary so it's barely even touching (and the further back you have it the less muting there is).
@@TheBassfresh I agree it's overpriced; ironic considering I bought one. I've fiddled with mine enough to know. I've backed the thing off to the point it's about to fall off. It simply doesn't do for me the thing I want. It's a matter of personal preference. 1.25" soft open cell foam weather strip is a lot cheaper and does much much better for me, whether I size it to fit just so under the strings or if I slit it and slip it down over/onto the strings. I also do have one of my three P basses set up with the foam strip adhered under the ashtray the way Leo had it, with GHS P flats. That's the most extreme degree of muting that I happen to prefer.
I have a Fender Squier Classic Vibe 60s precision bass, I put a Fender Vintage 63 precision pickup in it and added bridge/pickup covers and the finger rest, my James Jamerson on a budget bass. There is something about a real 60s fender p like this 1965 you have, sounds great. I also bought a Fender Vintera 50s p, I liked your video on that guitar as well.
is there any additional steps while setting up a bass with flats? regarding truss rod adjustment, action, intonation? some say flats sometimes intonate badly both at the bridge and the nut and there gotta be some magic done in order for flats to be properly set up and sound. i would like a piece of advice :)
I hear a very muted, almost clicky sounding on a lot of old country records where they were essentially trying to get the middle ground between upright and electric bass. Think the era of Harold Bradley in Nashville. I know on some sessions he would even double with Bob Moore on the upright. Would this be a similar technique with this bridge mute? Or I suppose with a pick it's possible to palm mute a bass too but that sounds difficult
It's an Ampeg B50R being picked up by Shure Sm58. I also have a B100R for my blues gigs. Both sound like a B15 with more power and a cleaner solid state signal, great 4 band EQ, I like simple gear. But, this particular bass sounds amazing through every amp I own, and in the studio.
I really appreciate your ability to get the 60’s vibe. I’ve got a Fender P-Bass with TI Jazz Flatwounds 344’s and some foam under the ashtray bridge cover, love the warmth!
The Motown tone is so addictive!
I just did the same thing on my jazz bass, 3/8" thick X 1/2" wide black medium density closed cell foam rubber weatherstrip from Ace. Positioned it right up against the saddles. Labella flats, although i use a pick mostly but it sounds just like all the great Joe Osborn recordings
I noticed with foam mute if too thick or if you use the ash tray if it presses too much on the strings it will throw off the intonation. Just an observation I have made. I'm all about the foam mute , killing over tones. BTW I use Roto Sounds flats on my P-Bass love the tone.
I've tried the Nordy and yes, it does mute too much. Instead of the sticky backed foam weather strip stuck to the bridge ashtray, I simple use common grey air conditioner weatherseal (no sticky side and less dense) under the strings, cut to the ideal size. It's soft enough and sized to not make everything sharp or mess with intonation.
I do that as well on my fretless and my fender jazz bass. Works great like you said. I tried "the bass mute" , lots of side pressure if engaged beyond barely on, so you know what that did.
The Nordy is overpriced for what it is but it doesn't mute too much. You just need to adjust it. Pull it way off the string if necessary so it's barely even touching (and the further back you have it the less muting there is).
@@TheBassfresh I agree it's overpriced; ironic considering I bought one. I've fiddled with mine enough to know. I've backed the thing off to the point it's about to fall off. It simply doesn't do for me the thing I want. It's a matter of personal preference. 1.25" soft open cell foam weather strip is a lot cheaper and does much much better for me, whether I size it to fit just so under the strings or if I slit it and slip it down over/onto the strings. I also do have one of my three P basses set up with the foam strip adhered under the ashtray the way Leo had it, with GHS P flats. That's the most extreme degree of muting that I happen to prefer.
@@ER-ec4uq I tried all that, wasn't my cuppa. Seemed to work best on round wounds though.
I have a Fender Squier Classic Vibe 60s precision bass, I put a Fender Vintage 63 precision pickup in it and added bridge/pickup covers and the finger rest, my James Jamerson on a budget bass. There is something about a real 60s fender p like this 1965 you have, sounds great. I also bought a Fender Vintera 50s p, I liked your video on that guitar as well.
thanks so much
is there any additional steps while setting up a bass with flats? regarding truss rod adjustment, action, intonation? some say flats sometimes intonate badly both at the bridge and the nut and there gotta be some magic done in order for flats to be properly set up and sound. i would like a piece of advice :)
I hear a very muted, almost clicky sounding on a lot of old country records where they were essentially trying to get the middle ground between upright and electric bass. Think the era of Harold Bradley in Nashville. I know on some sessions he would even double with Bob Moore on the upright. Would this be a similar technique with this bridge mute? Or I suppose with a pick it's possible to palm mute a bass too but that sounds difficult
What kind of foam do you have in there? Sounds great.
window/door weather seal cut to size, 1/2" wide x 3/8" thick
what amp is that?? di?? sounds incredible.
It's an Ampeg B50R being picked up by Shure Sm58. I also have a B100R for my blues gigs. Both sound like a B15 with more power and a cleaner solid state signal, great 4 band EQ, I like simple gear. But, this particular bass sounds amazing through every amp I own, and in the studio.
btw I recently bought the new Ampeg RB115...fantastic! Sounds like an B15 and an SVT in light combo.