Vintage Fender Jazz Bass: 0.022 uF vs 0.047uF vs 0.1 uF tone capacitor
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- Опубліковано 27 лип 2024
- The effect of changing the tone capacitor in a vintage Fender Jazz bass. Ranging from 22 to 100 nF (=0,022 to 0,1 uF)
All 3 basic pickup configurations, both fingerstyle and slapping.
www.jaspermortier.com
www.electrobluessociety.com
www.jimmyreiter.com
truefire.com/bass-guitar-less...
Everything recorded with a blend of 2 microphones: a Sennheiser 421 and an Electro Voice RE20 with a little bit added from an Aguilar Tonehammer preamp/DI.
0:00 Intro
3:32 Original 22 nF, both pickups, tone open
3:49 Original 22 nF, both pickups, tone half closed
4:05 Original 22 nF, both pickups, tone closed
4:36 Original 22 nF, neck pickup, tone open
4:50 Original 22 nF, neck pickup, tone half closed
5:22 Original 22 nF, neck pickup, tone closed
5:43 Original 22 nF, bridge pickup, tone open
5:59 Original 22 nF, bridge pickup, tone half closed
6:13 Original 22 nF, bridge pickup, tone closed
7:31 Replacement 22 nF, both pickups, tone open
7:46 Replacement 22 nF, both pickups tone half closed
8:01 Replacement 22 nF, both pickups tone closed
8:34 Replacement 22 nF, neck pickup, tone open
8:50 Replacement 22 nF, neck pickup, tone half closed
9:04 Replacement 22 nF, neck pickup, tone closed
9:21 Replacement 22 nF, bridge pickup, tone open
9:36 Replacement 22 nF, bridge pickup, tone half closed
10:00 Replacement 22 nF, bridge pickup, tone closed
10:39 Replacement 47 nF, both pickups, tone open
10:54 Replacement 47 nF, both pickups tone half closed
11:10 Replacement 47 nF, both pickups tone closed
11:40 Replacement 47 nF, neck pickup, tone open
11:55 Replacement 47 nF, neck pickup, tone half closed
12:10 Replacement 47 nF, neck pickup, tone closed
13:06 Replacement 47 nF, bridge pickup, tone open
13:21 Replacement 47 nF, bridge pickup, tone half closed
13:55 Replacement 47 nF, bridge pickup, tone closed
14:35 Replacement 100 nF, both pickups, tone open
14:53 Replacement 100 nF, both pickups, tone half closed
15:09 Replacement 100 nF, both pickups, tone closed
15:29 Replacement 100 nF, neck pickup, tone open
15:44 Replacement 100 nF, neck pickup, tone half closed
16:02 Replacement 100 nF, neck pickup, tone closed
16:29 Replacement 100 nF, bridge pickup, tone open
16:44 Replacement 100 nF, bridge pickup, tone half closed
16:58 Replacement 100 nF, bridge pickup, tone closed
17:22 Conclusion
Orange drop
0.5 0,5 0.2 0,2 0,022 0,47 0,1 50 nF 20 nF
I've added the time stamps below
16 nF
Both half 3:49 and closed 4:06
Neck 4:51 and 5:23
Bridge 6:00 and 6:15
22 nF
Both half 7:47 and closed 8:01
Neck 8:51 and 9:05
Bridge 9:37 and 10:02
44 nF
Both half 10:55 and closed 11:10
Neck 11:061 and 12:11
Bridge 13:22 and 13:37
95 nF
Both half 14:54 and closed 15:09
Neck 15:45 and 16:03
Bridge 16:45 and 17:00
but you really don't hear much
difference until you get to the thumb slapping. Thanks for posting this Jasper!
Wow! Thanks.
Extremely helpful - perfectly methodical with the same riff and just the right amount of description. The Dutch Mike Watt! ;)
Thanks! Sorry never heard of the guy, but I saw he played with Dave Grohl, so that says something I think!
Nice comparison.
Excellent video! This is the perfect way to illustrate the difference - playing the same riff the same way each time. Thanks so much!
Thanks!
yowsa, this guy is a great bassist...his muting is world class...
Jasper, blijf zo'n video's posten. Jouw uitleg over hoe een bass sound tot stand komt is goud waard man.
I love it.
Wauw, super man. Dank je wel!
i have been waiting for a video like this for years! thanks, man. the 47 is the way to go.
Thank you! Yes I thing 47 is a nice compromise. 100 is - especially live - a bit too much.
Great job, a pleasure to listen! I once used a c-switch to have 4 different capacitors available on a flip. After a while I stuck with 0.033 uF for a Jaco tone.
That totally makes sense. A bit warmer than the 0.020/0.022 but still keeping the mid 'boost'. You should have filmed the 4 cap bass! Did it fit easily in the control cavity?
Thanks for taking the time to do that, great video.
Thanks! No problem, it's fun to do. Stuff I want to sort out anyway.
This is one of the best reviews I've seen of ANYTHING. Thanks very much.
Ha ha, thanks man!
Informative comparison. Thanks for this.
Great comparison, explanation and playing! Thank you!
Thanks!
Thanks for great video.
I personally prefer .22
Excellent video Jasper. A clear & to the point description of each of the cap values & what to expect. Thank You for saving me a bunch of time & keep up da funk.
There you go! So what are you going to do?
Really a great comparison. Very useful . Thanks.
Thanks!
I have owned several basses, I think 6 now. My most recent is a Glarry Short Scale bass that I bought new on sale for 67 dollars on FleaBay. It's the one that looks like a complete ripoff of the Squier Bronco bass. Today, I took out the stock pickup in it, and switched it with a 50's P bass/tele bass style single coil, also switched out the cap with a .1uf after taking out the stock .047uf.
I may eventually get bored and throw in a rotary switch with different capacitors on it, but right now I like the lows it brings.
I was expecting more to be wrong with the bass when I got it, honestly, I was expecting the worst of the worst, but my glarry arrived playable, although two of the pickguard screws can easily be pulled out with a fingernail. Had there been anything seriously wrong with the guitar, I believe that with my experience of building 6 guitars from kits and one from scratch, it's nothing I wouldn't be able to handle.
Good job Jasper. Thank you very much 👍🏽
thanks!
I've hooked up a three-way toggle switch on my Dragons Breath - No soldering needed! Did require slight circuit change on vol bleed mod - to find the sweet spot.
Nice comparison, very informative. Thanks.
Cool! Thanks.
THANKS YOU HELPED A LOT.
much of the warmth comes from the svt and cab. I alway senjoy your vids.Very thorough. Tx
Thank you!
Thanks for the video. Nice comparisson. It was usefull for me. I hav 1.5nf in my jazz bass with flatwounds. Then I just move the tone, so it is a nice way of having all capacitors with only one... well 2 in parallel in my case.
Very cool vid
Awesome video, earned another subscriber!
Cool! Thanks.
Great tone all around. It's the amp!
That's it! Thanks man.
Brilliant video. Thank you
Thanks!
Well that's a very nice sounding bass regardless of the cap, but I really like the .047 cap.
Thanks. .047 is a good compromise. In my p-bass I'm back to .05.
Thank you!
This is great! I might putting a 100 nF in a bass that I'm about to buy.
Cool! It's totally worth a try.
Thank you sir, very interesting.🖖🏼👍
Great comparison, I play reggae and had my precision and jazz changed to the 0.1 capacitor, it made a big difference to the low end
Cool! Yeah that should totally work for that kind of sound.
I play dub reggae for years . Tune a 2022 Jazz player plus BEAD , upgrading my second bass with new pickups , hadnt considered
Capacitors at all, thinking of going Lollard or Seymour Duncan the # 2 jazz
@@theduppykillah hi duppy, just a suggestion, maybe try the capacitor first before you change your pickups, it made a nice subtle difference to my sound, I’d say more warmer and took some of the highs off , which you can eq back in if needed
I've just noticed my tone knob (0.02 uF) has no effect, due to going open circui. I'd ordered a 0.047 uF capacitor (seemed to be the most common for P bass) and this video confirms that i do indeed prefer that rating. Thanks for the video, great for tone comparisons. Great playing too by the way!
I have it now on both my J- and P-bass. Totally nice workable compromise value. 0.1 seems better for some stuff, but appeared to be too much live. Thanks for the compliment!
Thanks, this was very helpful!
Thanks!
Hi J, it has been a long time! Nice to see you!!
Rick?? Damn, that's been a while! Hope you're doing fine!
Jasper Mortier all is well, I hope we get a chance to play again sometime!
@@UBOOFTB Anytime!
Great video, thanks!
Welcome! Hope it's helpful.
great mod. Thanks 🎸🙏
Welcome!
great Video Jasper 👍
Thanks Kevin! Thinking about changing yours?
@@JasperMortier yes I always liked your sound. The 100uF sound nice. I may drop one in an old Squire I use occasionally. I'm satisfied with how my old fender sounds. one question. what's your take on Ceramic vs. Alnico pickups?
@@KevinDuvernay The 100uF is really cool to try for sure. No I have never even tried different pickups in my basses in general. I only had issues with my Jazz, but that's solved by wax potting them (see another video). I think all of my pickups are Alnico? Not sure. What differences do you expect or what are you looking for?
@@JasperMortier as I mentioned just looking to see if I can make a cheap Affinity sound better. It's not urgent because it sounds pretty good for the price but I got the upgrades for free.
Cool!@@KevinDuvernay
I love Orange drops too!
Nice video and tnx for info, now i know what i need!
Cool! So what do you need?
@@JasperMortier I always wanted less treble cut. All my basses have 0.5 caps
Thanks for a very well made video. I preferred the .047, a nice balance, but that is just an opinion. The important thing you showed was how much that one little part can be used to tailor the sound to taste. A nice inexpensive low effort mod. I loved the lick too.
Thanks! On my main main bass (Precision) I did switch back to its original 0.05 cap. Live it was just too much and I always ended up with my tone control totally open.
Interesting thanks!
7:31
10:39
14:35
Thank you! These types of comments need to be on ALL comparison videos.
Wow I love that tone, i prefer the lower punchier tone so I’d go with the 47 and up, but I’m like you, If it improves the tone to “you-me” and makes you love playing the Bass even more, then why not do it.
Great information thanks for taking the time to explain this.
Thanks so much.
beautiful bass ,was wondering the same thing with my 69 jazz,very useful video.
Really great to hear, thanks so much. Made up you mind yet?
Jasper Mortier i think the 100nf makes more sense but i will have to rewatch the video few more times before i do anything 😃
@@refbassist If you're planning to change the original one anyhow, you might as well try both the 50 and the 100.
Jasper Mortier will do,thank you very much.
My 77 JB has a .022 capacitor, thus, it still rich in mid freqs with the tone closed. What worked to me is the tone bleed of the volumes, with a slight turn of the neck vol I get a warm, muddy sound like that with the 0.047 capacitor with tone full closed. Anyway, thanks for the video, very educative for bass players.
Nice! Yes playing with the balance of the two pickups can get you super workable tones. All the best!
I normally am not a fan of the jazz bass sound but with the 100 nf cap and some flats it sounds great.
In the hand of the right player the Jazz can do wonders, but the P is favorite for me ('too' I guess?).
ua-cam.com/video/Yi5-oBJUi0c/v-deo.html
Tegek Jasper!
Ha ha, dank jewel.
This is really excellent. People spend tons of money on pickups and strings searching for the sound they want, when they might get everything the need from a cheap capacitor change.
Exactly! But it all has an effect. Hopefully videos like this help a little by making the right choices.
@@JasperMortier I put vintage mullard mustard caps in my 2013 reissue vox basses, and wow they sound so much more like you'd expect a vintage vox to
@@jasondorsey7110 Wow cool. And it has the same capacitor value? Or did that change too.
@@JasperMortier the generic ones I took out said 225k on them, the ones I put in said .022
Thank you Jasper for the in depth review. Fantastic playing and you were the only video that helped me with an accurate decision on what cap to use to replace the original IC 503Z ceramic cap, 0.05 microfarads. with tolerance designator of 20%/+80%. WTF Fender , must have cost you about 3 cents. I feel the cheap ceramic cap has more to do with the lack of desirable tone that the rating. I will start with 0.047 uF and go from there. I will be sure to check out you other channels. Cheers man.
Thanks for the compliments! For me the 0.047 is the ideal compromise. 0.1 appeared to be too much - live especially.
Never thought about changing out the caps to change the tone. I have the .47 on my '76 Jazz but might try the .22's. I like the brighter, punchier more percussive sound of the Jazz especially vs. the P-basses. To each their own, but never liked when it sounds like you are playing at the bottom of a sock drawer. Tends to get lost in the mix a lot of times. Either way, it was a great video!
I’m really glad it’s of use for you even though you seem to gave a different angle so to speak.
I agree with you - and if highs need to be rolled off further, might as well use the amp EQ
Very good informative video . Well done . Nice playing was a bonus .
Really good to hear! Thanks
Great video! Thanks from new sub!
Thanks!
Great video! Will a cap change make me as funky as you?
I somehow like the 95 nF the most. You sound really bassy in general :) you could add some more mids on the amp.
Great show and thanks for putting this out, as it's not a common topic.
'Show'? Did you see me play or something? Thanks man. Yes, I always turn up the mids a little and do miss mids sometimes (see also my other video 'Getting a vintage bass sound by using a guitar cabinet'). All the best!
@@JasperMortier I have seen some couple other videos you made :) good job. I like that some people are not afraid doing some replacements for their needs. These are all quite small and cheap replacements but this can give a lot new sound options. I look into to see even more. :)
@@tonurehela860 I'll try to come up with some more videos! Thanks again.
I went with an Obsidian brand TRUE VINTAGE 63' FOR JAZZ BASS solder-less wiring harness, which comes with a 0.05mfd true to original specs capacitor. And a Fender American Jazz Bass control plate. Still feeling her out really. So far so good though. She is a Squier Vintage modified Jazz, so stock electronics were "bargain". Definitely a noticeable improvement in tone over whatever size/type capacitor came in her (I don't even remember, .22uF probably, it was fairly nondescript). Thanks again for the education.
Wow, I checked it out. Never saw it like that before. Pretty high tech! Glad it seems to work out.
Great comparison, Jasper! And great clarifications!
But, oddly enough, two days ago I installed on my bass (JB'75 replica, two-piece ash deck, maple neck, rosewood fretboard, weight 6-6.5 kg) SPDT an ON-OFF-ON switch with 22 nF, 33 nF and 47 nF EPCOS K73-17 caps and only today accidentally saw your video.
A year and a half ago, I changed my native 47 nF cap to 33 nF, but the other day I suddenly thought: why not make a switch to make the instrument more versatile? And now the result met all expectations! It's a shame that a year and a half ago I didn't watch your video ..
Thanks man. Funny. There's another guy somewhere in the comments here that did exactly the same. So do you actualy switch between them or do you settle on one value?
@@JasperMortier So far, I'm only testing at home .. At the weekend there will be a rehearsal, there I will check whether it will be applicable in the repertoire. Well, in the future, it will definitely come in handy😎
Cool. Yes, testing at home or in the studio is absolytely something else than on stage/in a live setting. Let me know how it turns out!
@@JasperMortier Necessarily!
I like that 47nf. I personally wanna get a .1
A cool video, thank u. I want to make a precision. A capacitor cut at a frequency and all above it but it also have a side effect that is a little boost (around 3db) just before the roll off the cut frequency. Sry for my poor english and typing mistake, french here.
Yes, that's kind of hard to understand indeed! Sorry, Dutch here, ha ha! Only thing I always understood is: every boost is a suggestion because it's all passive and there's only frequencies being cut off, but I might be wrong.
Cool Video. Thanks!
I'm a big fan of .1uf caps. My stock basses always sound too bright to my ear. What strings are you using? Chromes?..they sound like flats when you don't slap.
La Bella flats. Funny that slapping sounds still pretty good with those, isn't it? These are the .45-105. (760 FS). I switched on my main (P)bass to .49-.109. (760 FM).
Nice summary - you get the same tuning capability on the decoupling caps in tube amps (get someone experienced with high voltage to help if you start opening amps, also the values are different again). What you are doing by changing the capacitance in the bass tone stack is change the low pass filter point of the cut off frequency. Higher capacitance lowers the point of cut off so less high frequencies pass through.
Thanks!
Only when the tone pot is closed or near closed, when they're open they are electrically out of the circuit.
Great video. Really informative. With the last one, it sounds like you lose a little volume as you roll the tone off. Was that the case ‘live’ too?
Yes. Absolutely, it starts to effect the mids (an thus the volume) more and more the higher the value gets. In general it's a bit much too my taste. So on my main bass (P-bas) I ended back on the original 0.05. I think the 0.1 sounds super recorded, but is live too much. Old circuits (pre 60-ies or something) had a resistor build in. Probably to drop the volume while completely open to compensate although about this I'm not 100% sure.
Thanks 0.1uf orange drop works great on my -85 Squier jazz bass
Nice!
Love my synthetic oil in paper one 😹😹😹😹😹😹😹
Yep,I modded my Bronco.Jag SS neck (1.5 nut/rosewood),Hipshot UL/Kickass hardware.Dimarzio Fast Track 2 pickup,Dunlop 500K superpots and Mojotone .1uF.Got tired of being told no from the major builders,made it myself and didnt put 2 to 12k in their pockets.
My Fender Custom Shop 55 Precision and 51 Precision came with .1 cap and, for whatever reason, a resistor between two of the tone pot lugs. The bass sounded great until I wanted to use the tone knob--it was totally unusable unless I tweaked the volume every time I changed the tone knob setting. So it was almost like having two volume knobs with the "tone" knob changing the tone but drastically altering the volume as well (dropping it bigtime when engaged). I hated that. Why they were wired that way originally is a mystery to me. It was necessary to adjust both the volume and tone every time I moved the tone, unless I wanted a huge volume drop as I rolled the tone knob on. So... I took the resistor and .1 cap out and replaced them with a .047 cap wired the way modern basses are wired. I've never looked back. It's perfect now. The tone knob works as a tone rather than a tone and volume at the same time. In doing all of this I learned quite a bit about different wiring schemes and versions of how the tone pot has been wired with the cap over the years. But still, I really do not understand why they were wired the way they were in the early 50s. Such a hassle with two "volume" knobs.
Yes, I totally understand. But it does alter the sound! It does get fatter, but in a totally Old School way since the highs roll off in a strong manner simultaniously too. Did you see my video with my Telecaster bass where I put it in just to see the effect? But leave your bass like it is! I have the 0.047 cap now in my Jbass and Pbass too (without a resistor), but I left it in my Tele just to have the choice (for now that is). All the best. That must be some cool basses btw! ua-cam.com/video/5ZlPzK79Gfo/v-deo.html
Enjoyed your relaxed Chuck Rainey style finger work nothing flashy nothing silly nice clear tone …i tire of demos featuring endless slapping of the bass with ridiculous force 18:58
Thanks! Although slapping can come in handy judging the sound cause you get more overtones that way. All the best!
Thanks, great video ! In my experience, having a 0.100 capacitor gives a range so wide, that at the end is hard to find the right spot of your tone. I try 3 different capacitors with a jazz fretless, and keep 0.22 for an easy Jaco tone on the bridge pickup. But a neck pickup with frets can have 0,47. IMHO, it's a matter of tone, but also of tone range: the less bass you take off with a the capacitor, the more precise you get using the tone knob (but having less options).
I did settle for the 0.47 too yes. And if you're able to split the front and back pickup a lower value for the bridge pickup totally makes sense.
@@JasperMortier Thanks for your answer ! Yes, it's a possible reason to have 1 volume and 2 tone knobs, with 2 different capacitors. I have a PJ sort of bass like that = 0,47 for the P pickup and 0,27 for the bridge jass pickup. Thanks again for your video and your answer !
Great comparison. Are you able to comment on whether the different value capacitors had any effect on the open tone?
I don't hear or feel any difference!
Nice video! I wonder why you didn't try to use in your modifications ceramic caps on other frequencies...i personally prefer them (and paper in oil too) compared to modern polypropylene caps. Regards
I did start with the original (= nowadays vintage) cap didn't I? Also in my other videos I also use the standard cap in there and compare them to PIO for instance. ua-cam.com/video/GxeV7FHsxsk/v-deo.html
Hopefully you have a chance to answer, Mr. Jasper -- are you using the stock pots (I believe those to be standard Fender 25OK pots). I'm planning to use the 0.1nF cap in her, and want to get the most effect from the modification. Thanks in advance, sir.
Yes. Totally stock, so that's 250K indeed (137, so that's CTS).
I like the original ones
That opening tone was killer man! Are those flat wounds?
Yes! Old La Bellas (BTW, I just published another video with a sample of Tim Drummond, so I was confused for a second!).
The important thing for me ,is how it sounds in a mix with drums and etc. ! SteveBaggett
Yes of course.With 'in the mix' you mean recording or playing live? I'm back to ± 50nF for both my Jazz- and Pbas. Live I ended up always playing with the tone fully open with 100nF. With 50 nF I have a choice and I use it all the time. Recorded in the mix I think the 100 nF can sound just killer also with other instruments, but there too the 50nF works just fine.
Oye Como Va bass tone.
Hey Jasper
Thanks for this video. A great comparison and reference.
Has anyone tried a .1 mfd on neck pu , with a .05 mfd (.047) on bridge pu with a VTVT 60-61 style pbass.?
After I got a 58 AVRI Precision, I changed other Precision from .047mfd to .1 mfd, and never looked back.
Many say capacitors don’t make a difference, but your demo and my ears suggest that they really do. Thx
On my P-bass I changed back to .05 because live I missed the attack / cut-through character so I always ended up with my tone totally open. With the 0.05 I still can get rid of the nasty overtones without losing power and I can switch between more Oldschool (more closed) and a bit more modern (open) depending on acoustics of course. In the studio or on headphones or something the 0.1 totally rules, but I'm mainly a live musician. Your suggestion for the 2 caps on the jazz bass should work out really fine I think. Thanks!
The kwok kwok kwok sound is not bad. Seems to me that the higher frequencies are the ones that go down the drain. Do you have room on there to put a switch to add the capictors so they can be switched in or out to change the sound as needed? Im thinking of doing just that to my guitar as I like the heavier strings which seem to ring longer than the tinny, light guage ones.
So you want to able to switch fast even within a solo or something? Including a switch on a Fender bass would be no problem I guess, but I mainly switch in between songs and sometimes do some fine tuning during the song. I wouldn't be needing a switch for this. I continue on my Kwok Quest!
Cool video. I've got Frankenstein/parts VTVT J bass that I put together. It's just a player; nothing vintage to be concerned about. I've recently switched to Fralin split coil jazz pickups. Next, I'm redoing/replacing the electronics/wiring under the control plate because something seems wrong with the controls for the bridge pickup and I want to try new things anyway. While doing that I'm first going to experiment/try a scheme without the 220K summing resistors, what Fender produces currently for stacked pot J's, rather than the original 1960 Leo Fender scheme. That involves how the tone controls function. The summing resistors also cut some of the output. After that I'm going experiment with combinations of .027uF, .047uF and .068 uF orange drop caps. .047 is the standard value I've been using for neck and bridge for years. I will alternatively try .068 on the neck tone and the .027 on the bridge tone and those in combination with .047. That's four total possible capacitor combinations, including my current standard .047 scheme.
Cool! Lot's of work to be done! Yes the different values for the front and the back pickup on the Jazz would be really cool. I never tried the resistors on any of my basses yet.
@@JasperMortier I love visual and interactive demonstrations and experiences like these because they make a huge difference in learning what basic electronics can do and how things work. BTW, there's a cool video on YT I found by the American pickup maker Lindy Fralin in which he demonstrates, by turning three selector knobs, how different capacitor values affect tone and responsiveness using a Telecaster and an old EICO Capacitance Decade Box 1180. I've seen these for sale at places like Ebay for between US $50 and $80. Very interesting. I'm quite tempted to buy one myself to experiment.
@@YTPartyTonight I saw that one yes! Cool stuff. The range for bass is pretty clear I think: somewhere between .020 and 0.100 and all the rest is pretty much a matter of taste.
Thank you very much, very useful!
My reissue 70's Jazz bass has the .022 capacitor and I'm about to change it with either a .047 or .068.
Any experience or advice about an in-between .047 and .100?
(On the theory, of course I'll be counting on my ears to decide).
I personally love the .100 but I already have my Höfner with it, for the vintage and deep effect (coupled with flatwound strings).
My Jazz bass with roundwounds is for more modern or versatile sounds (not that he Höfner cannot be versatile, but it has another assignement at the moment :)).
So I'd like to have more lower margin, retain some cutting low mids but without reaching low dub mud.
Cheers from Switzerland!
Federinz
No experience no. But it will sound, uhhh, in between .047 and .100! Just kidding, sorry. I settled on the .047/0.050 for both the jazz bass and my P-bass. I totally love the deepness and warmth of the .100, but especially live it's too much for me and I end up playing with the tone totally open, whereas the 0.050 takes off the nasty buzzy highs, but keeps the cut-through frequencies. And since you already have that deep sound on another bass (I kept the .100 in my Tele-bass too) I think you'll find the .047 already a big improvement to the .022.
@@JasperMortier Good to know. Thank you again, it's great help.
I was getting crazy trying to understand what of my lovely Jazz was putting me off.
You and some others online unveiled the "secret" and purpose of tone capacitors and now all makes sense.
I already had an understanding of the electronics but had no correlation in mind between numbers and real effects.
@@FederinzC Thanks, that's really nice to hear. Let me know how it works out for you.
Nuances. But as I listen, I think I would prefer the 22uf cap in that bass with those strings. As the cap values increased it removed the ability to get an snap in the slap/pop sounds. JMO Thanks for posting this.
Thanks! If you want to get a slap sound I would leave the tone open anyway (and get fresh roundwounds!). I mainly did it, because it shows the effect so clearly.
Great video Jasper, what size pots are you in the bass, it's a beauty by the way, Cheers !!
Thanks! What do you mean by size? The value? It's just the standard CTS 250k. 1 (or maybe 2) still original I think. I had at least one replaced with the same type. I should check. Yeah, I was really happy when I found it. Nice combination between the 'air' of the early 60-ies ones and the more solid 70-ies basses.
@@JasperMortier I figured the size may have been 250k as that's Fenders normal set up, thx for confirming
22 nF fully closed (6:15) and 47 nF halfway closed (13:22) sound quite similar. If anything, the latter is a bit fuller and rounder, where the former is thinner and raspier. So given this evidence I'd say there's no downside to the 47, it's simply more versatile. (It's also, IIRC, the only way to get a certain low-mid bump.) That said, I'd be curious to hear a 33 cap sometime. It's a less common value, and so hard to find clips of.
Thanks for this video, it's very informative. Cheers from California, USA
Yes, I had that comment about the 33 before. For me the 50nF is already like a compromise between the awesome but mostly a bit too much 100 and the 20 (which evenn totally closed doesn't do much to me).
Yeah, if a 47 can sound almost like a 22 when it's half open, then I'm sure there's a setting where it sounds even more like a 33, especially in a mix.
As for 100 being too much, I believe they also make 68 nF caps. I don't suppose one of those could be worth trying? You might find it less of a compromise. 🤷
All things considered though, I can see why 47 has become the standard.
@@James.Kessler It's kind of studio vs live. In the studio 100nF can be totally beautiful, live I need as much of all of the cut through frequencies as possible. The 50nF warms it up nicely and takes away the fretboard noises perfectly and doesn't effect the usefull midfrequencies too much. I'm more of a live musician so to speak, so I settled with the 50nF on two of my main basses.
Wow Jasper thats really subtle. I kept bouncing between the 22 full on and the 100 full on demos and could barely hear a difference, even listening with headphones. Still a great thing to know from your experiments.
By the way, I am a student in your Truefire course for Blues and cant recommend it enough (if you dig blues bass). I would like more instructional content from you Sir!
I do think it's a pretty strong effect, both live as well recorded although there is stuff with a bigger influence of course like the acoustics etc. Cool and thanks about Truefire!
The early P and J basses used to have a bit of rubber on the inside of the bridge cover that muted the strings. We used to take them off and later left the cover off altogether . Maybe that's why the brighter 22 was used to lift the tops? I do like the lower solid 100's better personally! Will check my 71 Jazz now, thanks.
You mean they started using lighter 22s to compensate the lack of highs due to the muting or something? I think they switched from 50nF to 20nF in ±1964 for Jazz basses. Yes, my 66 bridge cover still has some residues from the foam, but it had already been taken out when I got it. Yes the 100nF sounds super, but it's a bit too much in live situations I think.
@@JasperMortier Just checked mine and it still has the original 22nF it is blue has on it MOLDED .022-100 10% made in U.S.A. on it. Not sure what the extra 100 means?
I prefer the "Bassier" sound to the modern "Bright" sound. I still boil my strings!
Wilbert Stokman Maybe 100 means 100 volt? Yes, my 66 already had 20nF. So they kept it like that in the 70-ies.
The 100nf is way better, you are absolutely right !!!
But I've ended up using the 50nF again. For gigging I found the 100nF too strong resulting in leaving it open all the time. With the 50nF I can warm up the sound perfectly without affecting the cut-through frequencies too much.
great playing! what kind of pickups do you have?
Thanks. Stock p.u.'s. I had them waxpotted though. See another video of mine: ua-cam.com/video/hDRJtHvc5PA/v-deo.html
Please correct me if I'm wrong but with the Tone control full open allowing full frequencies, the cap value does NOT change the sound at all. The cap value only comes into play when you roll back the tone control to cut frequencies. The greatest effect comes from the .1 mf cap but by rolling back the tone control a specific amount , you should be able to mimic the effect of the .047 mf cap. So in conclusion the .1 mf gives you the greatest selection of tones. Also the modern film capacitors are far superior to the old ceramic ones with the same values so this is a very common upgrade for every guitar/bass. Great video as it helps demystify the the effects of different valued caps.
Some people do say they hear a difference also with the tone open. I don't. About your 2nd point: in my experience you can not get the same sound with the .1 compared to the .047. It's not 'just use a bit less'. It's a different frequency range. I settled on the .047 for my (post 57) P-bass and J-bass. I left the .1 in my Telebass (pre 57 P-bass). The .047 takes of the nasty fret- and string noises totally natural, whereas the .1 really start to work on the fundament of your tone, which is nice, if that's what you're after. Especially live for me it's too much. About the making: I don't hear any difference between the orangedrop RI and the original ceramic one. See also my other video about PIO caps. Thanks!
What people don't realize is that when a tone control is wide open the tone cap is electrically out of the circuit, they only matter when you want a deeper sound, no cap will make your bass have more treble. Listen to 3:32 7:31 10:39 and 14:35 all are done with the tone wide open and all sound almost identical. I also have a 0.1 uF (100 nF) cap in my Jazz so I can get that nice old bottomy tone if I want it, wide open it sounds like it always did. All a bigger tone cap does is gives more bottom when closed and increases the tonal range which makes it "faster".
It's my experience too that once your tone is totally open there's no difference.
@@JasperMortier Yup. There's a big misconception among many players that you can get more treble out of different tone caps. Great video, thanks. Nice bass too.
@@G8GT364CI Thanks!
Great experiment dude!!! I guess those strings are well worn. Am I right? 100nF works for me
Ha, ha, yeah totally. A bit too much actually, especially for a comparison like this. Although the slapping surprisingly still kind of works!
What strings?
Truly great jazz bass sound examples by such a nice wonderful player/instrument!!
I'd like to know what amp head and speakers are behind you.
Thanks Jasper.
Thanks for the compliments! Really nice. The head is a 75-79 Ampeg SVT. I've got 2 cabinets here. Half of a homemade 8x10 on the bottom - you don't see this one - with Eminence Legends SVT reïssues miked with a EV RE20 and the top is an experiment: a Fender style 2 x 10 with EH SVT reïssues miked with a Sennheiser 421. See also another video of mine ua-cam.com/video/heqKIw8PDvE/v-deo.html
@@JasperMortier I see, it's Ampeg SVT... yeah, yours really lives up to its reputation. Maybe I would need to keep an eye out for it on vintage market... Thank you very much, sir.
@@frontpu5535 I'll be carrying it around as long as I can!
@@JasperMortier Oh yes, I have some more questions, though. Which brand/gauge of strings did you use for this video? And is your vintage jazz bass heavier or lighter than 9lbs (=4kg). If you can't tell then that's all ok of course, but the information would help me a lot. Thank you sir.
@@frontpu5535 It's a bit heavier: 4,4 kg. I bought it because it's indeed a bit more fundamental than the most of the early 60-ies models, but still not like a lot of the super heavy 70-ies ones. For this video I had LaBella flatwounds .45-105 on there. In the next video I use roundwounds so you can hear the more clean sound: ua-cam.com/video/hDRJtHvc5PA/v-deo.html
100nf is the only real change that the audience is going to feel and you can always use less of it,
I also think the caps on my guitar are not enough of a change even at max, must be 22, I'll go with 100 instead of 47 because I can always use less of it
Very good test!
However for me it is too dark, I would not be able to tell what I was doing in the mix, there's just simply not enough definition for me. I'm a fretless player and listen to pitch for proper fretting and even thought it sounds good by itself I would get lost in the mix where all notes sound almost the same.
Thanks, I know it's not everybody's taste, but there are so many 'clear' 'hifi' 'neutral' or whatever clips already. I like to stress this vintage style a little. And I must say this dark character is stronger on the recording than it is in the room.
And This is why the Early Versions of these F Jazz Basses had the ‘Stacked’ Vol/Tone for each Individual Pot..
why they got rid of it, I don’t understand.. ..because the pickup placement “dictates the center frequency” of tone attenuation..
Totally agree. I'm still tempted to put a stack knob configuration on my Jazz (with for instance 0.1 front and 0.033 on the back pu).
Or, keep the 3 pot configuration, and just swap out the existing tone pot for a “push-pull” type, with 2 individual caps for each wiper…
I did that to my ‘76 jazz.
(switching to original stacked knobs is cool, but in my case, i wanted to keep with the “70s period correct” look- and didn’t want the ‘early 60s stacked’ look)
when it’s pushed in, I have it doing the .047 thing, and when I pull it out, it’s now doing a .022 thing to comply with the back pup. This way, I can KEEP the more drastic attenuation (yknow, to not have “different values” when I attenuate both of them-when both pups are up full blast)
but yes I totally agree, when you move the pickups around, it totally changes where/how that rolloff should be.
Where was the EQ set on your amp? I still believe you get most of your tone with your hands.
Pretty much everything on zero. On the SVT I often boost the mids just a little. Totally agree with your comment!
What pot size do you recomend or anyone is welcome to comment as well for a tone pot?
I didn't experiment with this. So far I just stuck to the original 250K.
are these flat wound strings right ? i would have loved to listen to a jazz bass with round wounds. more appropriate for a test in my humble opinion. 66's basses are usually very resonant.
Yeah they are pretty dead too. I'm sorry. But I like to show this side of the Jazzbass too. And whenever I use roundwounds I get requests for flatwounds (and the other way around apparently)!
Hi Jasper , great video , I've just picked up a 1964 Jazz and wanted to do as you have done , can you tell me does it matter about the Voltage , all the ones you have tested seem to have different volts ? thanks
No. The volts really don't matter. The power generated by your pickups is in the microvolt range. So say like 10 volt would be plenty I guess. I have them between 50 and 600. The disadvantage of the higher voltage is they get bigger too.
Thank you jasper , that's great , , on a off chance here , would you have a wiring chart of your Jazz , ive looked at mine but seem to have an extra black wire going to the front pick up , ive looked at other charts online
ua-cam.com/video/g52cfkvpoYc/v-deo.html
@@markclemo123 Wy don't you just take the old one out and put back in the new one exactly in the same way? That's what I did. ua-cam.com/video/hyBS7aBxU6M/v-deo.html
@@JasperMortier Thanks for the reply , i understand about replacing the capacitor , my question refured to your wireing , mine seems to be different but as mine is a 64 Jazz i would of thought it would be the same as yours ? thanks
My guy modifying a 66 jazz bass like a chad
I'm here baby.
I like the fundamentals over harmonics all day long, 0.1 with the knob rolled all the way off. It's bass so it should sound like bass not clanky metal.
Totally a matter of taste of course, but I'm a fan of too hifi sounding bass either (although I don't matter as bit of Louis Johnson or Marcus Miller every now and then)!
Jasper Mortier! You seem to be a little too subservient to technology. I'm seeing that from your descriptions
of other bass players.. uh.. modernizing.. the mood of your calm and patient video, very scholarly and studious.
I hope you know that if You Tube was there in the 1960s you could be making the same video with a Jazz Bass.
Maybe you should delve, not dive, farther back, beyond your own Jazz Bass experiences, to the beginning of the
concept of the Fender Jazz and Telecaster bass, electric bass guitars. This is something I haven't seen online.
The Jazz had options, one of them being a fancy metal rod that screwed into the special bottom strap-holder.
You could use the bass as a stand-up, something that's easier to get into with a Fender neck and strings.
If I was a contemporary bassist, I wouldn't want to play stand-up, it's too tough on your hands and fingers, but,
it would be very interesting to be doing stand-up sometimes, and here in North America, having an onstage
guitar that has a bayonet is a good thing. Besides, I would be able to bow for myself any time I wanted. Ouch!
You are seeing from Clan Watt. weirs an wires, weird an wired, Bay-an-uck-let, blessings on you in Gaelic.
Ha ha, I'm thinking I should answer something in Dutch, but let's just say: thanks!
66 JB ! ;-)
There you go!
With respect, your title is incorrect. 0.47 uF is 470nF. A typical fender tone cap is only 47nF. You need another 0 in there, Jasper. :) But this is a good video, and thanks! You may have noticed that the cap value makes no difference with the pot fully open, and at half way. That's because it's actually the pot's impedance that is rolling off the treble. Typically the cap will make little difference until the pot is about 3/4 of the way down. Cheers...
Changed the title! Thanks. Always confusing indeed.
And pot open: I don't notice any difference either, but halfway closed I do notice a difference between the different caps. On my P-bass I just switched back from 0.1 to 0.05 and it works way better for me (I never use the tone pot totally down anyway). Ciao.
Excellent comparison. The differences are really obvious. Changing the pot values from 250K to 500K has a similar effect to increasing the cap value.
There's a useful , very short comparison video here ( ua-cam.com/video/SJVF_i_ZeRE/v-deo.html ) that shows the effect of a wide range of cap values on bass tone. The final example is interesting: a 47nf cap with a 4.7k resistor in series. This acts to preserve some but not all of the highs - a kind of halfway house.
I would actually prefer to keep the basic tone bright and use tone controls to get a warmer sound. If you need them, you can't get the lost frequencies back once you've added a cap. An alternative would be to add a range of caps on a rotary switch, like the Gibson Varitone.
Thanks. I still sometimes try to tweak just my amp to get similar results, but it just doesn't work in the same way for some reason. The tone cap on the bass just smooths things out so nicely and effective. I still should check out this resistor thing.