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Glorious. Seriously tight. Can hear the flatwound strings clearly during the bridge - that glassy harmonic edge.

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Thanks for posting. I heard that actually the strings on his MusicMan were half-rounds rather than full flatwounds. Certainly dead sounding anyway. 

Interestingly, whereas a lot of isolated tracks show a level of dirt and sloppiness that isn't apparent in the final mix, Bernard seems to play very cleanly and with a light touch (I'd guess that those harmonics you can hear in the bridge are due to not pressing down that hard on the fretboard, although it could be a right hand thing). His muting is also very good - no lower strings ringing out in when he does parts in the upper register. 

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Yeah, GHS Brite Flats were the stock strings apparently. Those repeated notes on the bridge could be played on the 5th and 7th frets, so even careful fret-hand muting would probably still let those harmonics through! It's nice to be reminded that even the greats are only human... and that the mix hides a multitude of sins 😆

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One thing slightly puzzling me is that in a Bass Player article about the song, Nile Rodgers said Bernard plugged straight into the desk to record it (with the band playing live, together). Yet on this I can hear what sounds like a bleed of the track from some headphones. 
Any ideas?

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This makes me very happy indeed - I've always been very down on the slight hesitation/timing issue I have for the roots in the bridge part, but now I can hear even Bernard didn't get them bang on all the time...still a million miles better than a quantised version, though... 🙂

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5 hours ago, JJTee said:

One thing slightly puzzling me is that in a Bass Player article about the song, Nile Rodgers said Bernard plugged straight into the desk to record it (with the band playing live, together). Yet on this I can hear what sounds like a bleed of the track from some headphones. 
Any ideas?

Tape crosstalk?

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Posted (edited)

Bernard (from the live performances Ive seen) plucked the strings very close to the bridge - I wondered if that influenced the level of overtones on the upper strings (and maybe they're heightened by the level of compression in use).

Whatever, it's a great performance of a great line. Love the bass sound as well - some modern producers could learn a thing or two from this - I'm astonished hearing modern disco with such imprecise and wooly bass sounds - just hearing the subtle use of both very short notes and longer and in some cases, slid ones in this is an eye opener - the magic is in the subtlety (although not on here the reversed hand claps in the instrumental break is another example of clever production ideas) which all combined create a magical and classic disco song.  

Edited by drTStingray
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And all to think that this song is the result of being refused entry to Studio 64, a couple of bottles of champagne and a sweary jam at Nile’s apartment. Oh, and a couple of very gifted musicians...

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Posted (edited)

It’s those octave turnaround fills that always have me struggling. Very nimble fingers to get that octave note and return to the root as tightly as Bernard. And so consistent - super tight all the way through, with (according to Nile) it all done in one take with no punch-ins.

Edited by JJTee

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4 hours ago, JJTee said:

It’s those octave turnaround fills that always have me struggling. Very nimble fingers to get that octave note and return to the root as tightly as Bernard. And so consistent - super tight all the way through, with (according to Nile) it all done in one take with no punch-ins.

That was what I was happy about; he's not quite super tight all the way through...not something detectable on the finished record, though, and as I said, definitely better than perfectly quantised...

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