Nickthebass

Works and kids have conspired to scupper my plans thus far.

In other news ... this to thread prompted me to dig out my DVD of Standing In The Shadows... I may try to inflict it on my wife this evening.

I spend most of my professional life playing with Excel. What do you want this thing to do? It should be fairly simple to knock you up something that works for you.

That’s quite a stretch! If you are going to do something different - do it. Awful as it is ... I have more time for the Buzzard than someone taking a P bass body and making the bottom a little more bulbous and fractionally changing the shape of the scratch plate. They just look weird to me.

By contrast ... for me it’s companies that try to alter the proportions of those classic shapes just for the sake of it. Call me an old stick in the mud.

Chris McIntyre isn’t in London anymore. He is now in Edinburgh. Easier to get him on the phone rather than email McIntyre Guitars Unit 5B Albion Business Centre 78 Albion Road Edinburgh EH7 5QZ Scotland United KingdomTel: 07764747450 email: [email protected]

The correct answer is anything from Nordstrand. They’re also the best pickups for metal. 😁 Seriously though - they do a wide variety of Js including split-coil humbuckers. I have both their SV and SE winds. The first are more traditional sounding and the later are a bit thicker. TBH though I think you’d be pushed to tell much difference once the band is blasting away. Their pre-amps are great too. I have a 3 band version with switchable mids.

Once we’re post lockdown I could be tempted down from north of The Wall for this.

Although I think that later the arrangers started writing Jamerson style parts - including some stuff for him! The dude was special ... I read somewhere that he wasn’t allowed to tour because he was so important to the studio sound.

I would have been fine but with either but this is quite a simple rhythm. The second makes it very obvious that the Bb is on the “and” of 3.

You’re welcome. Magic only looks like magic when you don’t see the mirrors and wires. When you talk about “thinking several moves ahead” what you’re actually seeing is a highly developed approach to leading the ear through chord changes. The way it was taught to me comes back to walking bass in jazz. Let’s say you’re walking and you going to hit the root on beat one. You then have three notes with which to outline the harmony and end somewhere nice in relation to the next chord. Example a bar of C then a bar of F - we’ll just talk about bar 1 | C /// | F /// | Triads (1 3 5) are C E G and F A C. Playing C E G C in bar 1 would be great. You’ve got the triad then a 1 (or 8va) which is the 5th of the next chord. The ear will hear that move from C to F and feel a resolution into that F - especially if you go up to the F from below. You could finish bar 1 on the E and approach the F from a semi tone below. Again the ear is lead from one chord to the next. You could get fruity and stick a Gb on beat 4. A common resolution to a major chord in jazz is to play a b7 chord a semi tone above. Using the 2 bars above the piano would play | C / / Gb7 | F /// | Remember that thing about open strings in flat keys? Open A down to Ab is the same thing. Not only does it make position shifts simpler but it implies a quick chord substitution and leads the ear to the next root. Most chord progressions follow similar rules and patterns. What Jamerson is doing is applying the way that a jazz walking bass line moves around changes to a pop context. He has done it so many times (probably playing standards on upright) that he already has under his hands a dozen ways to navigate a given set of changes. Some tunes he gets to blow on more than others (I have no idea how he got away with the part on Darling Dear ... 🤯😳). At the end of the day it’s mostly walking bass (harmonically speaking).

Smells like F# to me.

Classic Dodge - lovely a human. 👍

@stewblack In fact the idea is simpler than it may appear and is one that is easy to steal. It’s a repeated call and response. If you at look at the shape of that part (literally the shapes on the page) you can see that it’s actually three repeats of the same shape. One bar up and one bar down. Look again and you’ll see that bar 1 or each 2 bar phrase is the same idea each time. The rhythm is the same each time and the notes are all from an (ascending) F7 scale using 1,3,4,5,6 b7 (F A Bb C D Eb). Yes there are some E naturals as well but first I think is probably a mistake and the second is a passing note. In fact bars 3 and 5 are identical - he may even have been going for that phrase in bar 1 and missed! So what you have is a riff going up followed by an answering phrase (using the same notes) going down. Thought of like that - this is something much easier to steal. Yes - Jamerson was a great player (IMO the greatest) but just like anyone else he used techniques and patterns to focus his creativity.

His approach is heavily rooted in jazz walking bass. It’s just played with different rhythms and in a pop context. It’s that jazz language in pop music that was such a revolution - and marks Motown out as different to the contemporaries at Stax and Muscle Shoals which were a bit straighter R&B.

As a Jamerson specific point - one detail to keep an eye out for is open strings. He was an upright player by background and (I gather) you tend to play more open strings on upright to facilitate position shifts - in particular at the bottom of the neck. That open A on the score is an example. There is also one in the intro to Bernadette. There is an open D as a passing tone when descending from an Eb chord to a Db. Also if it helps to get the sound of chromatic approach notes into your lines when you’re playing in flat keys (as a lot of Motown tunes are). For example moving from Eb to Ab - if you use an open A before landing on the Ab it’ll sound like you’re a jazzer implying a classic chord substitution. TLDR: If the score gives you an A, D or G there is every chance that it wants an open string - especially if you’re in a flat key.

Personally - the biggest thing for me with strings is playability which is a pretty personal thing so you may go through a bit of trial and error. What is your first instrument? What did you like or dislike about the old strings? Why do you say you want heavier strings? Do you like the feel of the higher tension? If you go for roundwound strings they may sound brighter than you want initially. Something with a nickel wrap rather than stainless steel with have a bit less “ping”. I don’t think you’ll need to be limited to double ball end strings - you may be able to use a regular string and clip and clamp one end just behind the nut. If you go down this route then you’ll have a lot more options. If you want “warm” (which says “old soul / Motown to me”) you could try some flatwounds. I’m a big fan of Thomastik-Infeld jazz flats and a pro player mate of mine swears by D’Addario Chromes. Neither are super high tension though (a common feature of flats) though the TIs are a bit of an acquired taste (realt quite low tension).

I got a Mono double gig bag from Bass Direct many moons ago. Big thumbs up from me. Two basses + 900w head + 2 cabs now do able on my own in one trip. Got to love modern gear. 💃💃🥳

That’s what we’re trying to do at the end of the day.

Bob - I’d start with a blank slate - turn all the pots all the way up (both pickups on full and tone all the way open). Then set the amp to something like “flat”. All the EQ knobs in the middle and the deep switch off. Turn the gain up about halfway and then crank the master until it’s loud enough. If you can turn up the gain more without it sounding distorted then go for it, just back off the master a bit if it gets too loud. That should give you some sort of reference point for further knob twiddling. If the notes are ringing out too much for you then - yes you’re going to have to get practicing your damping. This will take a bit of practice. Most players use some combination of left and right hand damping. I’d try practicing without the amp sometimes as well. A good skill to learn is how to control tone with just you hands. Lots of left hand damping can give you a much thuddier tone with little top end. Move your plucking hand up towards the neck - the sound will get rounder. Do the reverse (towards the bridge) and hear it get more nasal. I’m a fan of copping some upright technique. Tilt your wrist towards the head / neck and imagine you’re playing an upright - almost like you’re trying to get your fingers parallel to the strings. Feel like you’re almost rolling your finger over the string and using the side from the middle knuckle to the tip - instead of just the tip or pad at the end. I do this pretty much all the time - it feels like the notes have more body and weight.

I'm looking to put together a headphone based practice set up - I'm thinking of something like this https://www.gear4music.com/PA-DJ-and-Lighting/Soundcraft-Notepad-5-Analog-USB-Mixer/1XK3, into the a mac and then some headphones. I am guessing that I'll need some software on the mac as well ... any thoughts? I'd like to be able to play stuff from my phone and / or play along with stuff off the computer. Who out there has a set up along these lines? Any tricks, recommendations, bits of kit to avoid and things I haven't thought of? Any other radical ideas that would fit the spec in another way? @ mods ... if this needs to move to "Misc" or another part of the forums then feel free to shift it!