Best strings for Precision Bass to play Shads tunes

[jimbojet]

I have recently resumed bass playing after playing in my youth in believe it or not "new wave and punk" bands, and I have been working on learning the Shads bass lines mainly from the Jet era, and I wondered what you guys regard as the best strings for playing the early Shadows bass lines on a precision bass guitar? Can anyone help me?

[dave robinson]

I use Fender flatwound on my Precision Bass that lives in my studio because I like the early Jet sound and I'm certain that he used the same back then. Not sure what gauge they are though, one of the bass players will put you right here.

[Iain Purdon]

Flatwounds will give you the 60s sound. 45-105 gauge should be fine. Thomastik Jazz strings are tonally lovely and easy on the fingers. You'll get some, not all, of the early sounds better by muting the strings at the bridge with the side of your palm. Use a pick rather than finger style.

Good luck

Iain

[bassboogie]

I still find it amazing how Jet managed to get that deep bass sound with an AC15 and then an AC30, using a pick.
Does anyone know if he had a damper (sponge) in the bridge cover, as in early 60's P basses ?

Regards, Luigi

[dave robinson]

I still find it amazing how Jet managed to get that deep bass sound with an AC15 and then an AC30, using a pick.
Does anyone know if he had a damper (sponge) in the bridge cover, as in early 60's P basses ?

Regards, Luigi

He didn't on stage, it would have sounded quite tame. I saw Licorice with an AC 30 at the City Hall Sheffield and it was pretty quiet compared to todays gear. At the same venue I saw John Rostill with the later Vox AC 30 and he had a far better sound, but nothing like Jet's sound on record.
The sound you mean is the recorded sound with the Pepe Rush concrete filled 18" speaker cab with the Leak 50 watt amp that lived in Abbey Road.

[bassboogie]

If you listen to Live at the ABC Kingston (1962) I think that was Jet at his best live, particularly backing Cliff.
That's the sound I'm after (with pick and AC 30).
Mark Griffiths perhaps came closest to that in the recent Cliff and the Shads concerts, but with a modern amp and finger playing.

Regards, Luigi

[dave robinson]

If you listen to Live at the ABC Kingston (1962) I think that was Jet at his best live, particularly backing Cliff.
That's the sound I'm after (with pick and AC 30).
Mark Griffiths perhaps came closest to that in the recent Cliff and the Shads concerts, but with a modern amp and finger playing.

Regards, Luigi

I haven't listened to that for a long time, I'll check it out.

[jimbojet]

Thank you guys; I will try the fender flatwounds 45-105, I have already fitted an "ashtray" and put draft excluder inside to mute which has made a difference to tonal accuracy, hopefully fitting the new strings will be the final piece of the "jet jigsaw". I have not heard the live from kingston cd must check it out....

[Iain Purdon]

The final piece of the Jet jigsaw is, of course, Jet. As he himself said on video when reminiscing about the 2Is with Licorice (with Alan also present but not on stage), there were three bass players in the room. Give them all the same tune to play, all the notes would be right, but each player would bring his own approach.

You'll have to experiment to sound like Jet. I don't know the recipe but I suspect that youth and attitude played their part as well as technique and innate sense of rhythm plus, of course, choice of notes!

To hear him working with BB and adlibbing along, check out the intro to My Blue Heaven on the Kingston recording. Now there's a bit of musicianship

Iain

[jimbojet]

Jet was pure talent and a one-off so I know I won't get to his standard I recall him saying in an interview "I don't know how I play I just plug in and whack it" but he was obviously being modest "simalar to jet" is best we mere o.k. bass players can hope for....