How to reproduce McCartney's Let It Be Naked tone?

[Strat-Mangler]

Hey, guys!

I don't know what McCartney used as an amp during the LIB sessions, but his sound on LIBN is sublime and it's exactly the tone I'd like to have fun playing with.

I'm already planning on buying a Hofner bass, but I'm at a complete blank as to which amps I should consider to buy.

What say you, expert bass gearheads?

[Stick_Player]

The "Roof Top" part of LIB...N?

I believe there are only four songs from the Roof Top Concert: "Dig a Pony", "I've Got a Feeling", "One After 909", and "Don't Let Me Down". McCartney is playing his '63 Hofner through a Silverface Fender Bassman (maybe with two 15s?). But miked, might even be a DI, too. Then the 'studio' chain of gear.

Lennon played bass (Fender VI Bass) on the songs McCartney is playing piano - "Let it Be" and "The Long and Winding Road". Pretty uninspiring bass.

McCartney is, most likely, playing his Jazz Bass (I'm guessing) on "I, Me, Mine". Lennon is NOT on this track.

No bass on "For You Blue", "Two of Us", and "Across the Universe". "Across the Universe" was actually recorded in Feb., 1968, NOT during the 'Let it Be' period.

"Get Back" is from a studio take (the single version) with "Roof Top" crowd effects - this take is NOT live on the roof. I'm guessing the Hofner bass on this.

I'm guessing on ALL of this - I wasn't there.

So you'll need to get all 3 basses, the Fender Bassman and all that Beatle recording gear.

[Tampabass]

you'll also need to go back and be born in the summer of 1942 in Liverpool, and somehow approximate all the influences he had.

[rbonner]

Originally Posted by Tampabass

you'll also need to go back and be born in the summer of 1942 in Liverpool, and somehow approximate all the influences he had.

Might include some serious mescaline with a budweiser chaser.

BOB

[JimmyM]

Originally Posted by rbonner

Might include some serious mescaline with a budweiser chaser.

BOB

might also involve banging ugly broads

[Thunderthumbs73]

Originally Posted by Tampabass

you'll also need to go back and be born in the summer of 1942 in Liverpool, and somehow approximate all the influences he had.

This is the exact kind of rationale I mention when people start complaining about "learning other people's music like a coverband or tribute band makes you nothing but a creatively-emasculated copycat clone." Thanks!

[Strat-Mangler]

Wow,... thanks for taking it easy on the new guy.

I'm green when it comes to bass gear and I was hoping for knowledgeable people to point me in the proper general direction on how to achieve that tone.

So what do I get? A bunch of snarky remarks from people who are probably so cynical and jaded about such questions that they wouldn't recognize enthusiasm for music if it bit them in the ass.

For the record, I was referring specifically to the tones from the "rooftop" songs. They have this percussive deep growl yet midbass-enhanced quality that I crave.

Hopefully, other people who will read this will see, in me, a young enthusiastic passionate person who's willing to learn about the instrument and its gear. Making stupid/sarcastic comments does absolutely nothing but show a pointless disdain for what is to me a valid question.

I'll cross my fingers that somebody has some info they're willing to share with me, minus the attitude.

[dbase]

Lighten up .. We're all bass players here... just busting on one another .. or mainly just you right now. that happens to new people.. Congratulations, you are now indoctinated.

Welcome to Talkbass

[dminer]

Hofner+Bassman= rooftop......you might even be able to find some still shots somewhere of his bassman head in the background during those sessions to see some of the knob settings...or just get the rig or maybe a basspod and dial in the tone that sounds closest to you....also try posting on a Beatles fans/gear website (Voxtalk)...those guys are crazy meticulous as far as trying to get the exact "Beatle sounds" from their gear. Oh, and don't be too thin skinned about any replies here...they're just funnin ya!

[Skeevenmac]

A Hofner with the black strings on it and a bassman 2x15 and a pick.

Wow, glad I never got indoctrinated.

[Febs]

Originally Posted by Strat-Mangler

Wow,... thanks for taking it easy on the new guy.

I'm green when it comes to bass gear and I was hoping for knowledgeable people to point me in the proper general direction on how to achieve that tone.

So what do I get? A bunch of snarky remarks from people who are probably so cynical and jaded about such questions that they wouldn't recognize enthusiasm for music if it bit them in the ass.

For the record, I was referring specifically to the tones from the "rooftop" songs. They have this percussive deep growl yet midbass-enhanced quality that I crave.

Hopefully, other people who will read this will see, in me, a young enthusiastic passionate person who's willing to learn about the instrument and its gear. Making stupid/sarcastic comments does absolutely nothing but show a pointless disdain for what is to me a valid question.

I'll cross my fingers that somebody has some info they're willing to share with me, minus the attitude.

Stick_Player gave you some very good information in the very first reply to your post. Is that not the type of information you were looking for? If not, just ask a follow-up question. That will be more productive than complaining about the other responses.

[Mr. Mig]

Originally Posted by Skeevenmac

A Hofner with the black strings on it and a bassman 2x15 and a pick.

+1

During the Let it Be sessions Macca was using black nylon covered strings. That would give the Hofner a much more warm sound and a little more of an accoustic tone. I have a set of Labella "Beatles Bass" Strings with black Nylon on one of my Hofner Contemporary Basses. They do sound sweet.

[ridgeback]

also to add i have read an interview somewhere along time back and the question was similar the the op..he was asked how the got "that sound" his answer was basicly trial and error,he recorded the bass last on most of his tracks(and still does i belive) because doing it as it was back then with the drummer never felt or sounded right..touch and feel had a lot to do with it and using the vocal melody as the focus point as where to go with the bass,
i know the post was about what gear etc but i can play McCartney's bass lines note for note but its never quite right.honestly i do belive its his touch that makes them so good..

[Stick_Player]

I'll cross my fingers that somebody has some info they're willing to share with me, minus the attitude.

I thought I did that.

[Tampabass]

Dude, don't be so harsh on the old guys.
The smile by my comment was an indication that I was just kind of kidding around. It's a quite frequent occurrence here, and in 99% of the cases there's no harm intended.
Okay?
I'm glad you're here -- in addition to the joking around and lots of complaining, there's a lot of very good advice from well-informed guys.
After all these years playing, I still have loads of questions about gear, because I've never developed much gear savvy. So I ask all kinds of questions, and get sarcasm/joking in addition to the good advice. That's okay with me.
And, you know, I don't mind being called sarcastic, but calling people you don't know "stupid" isn't exactly the best way of introducing yourself to them.
Not offended, just amused.

Originally Posted by Strat-Mangler

Wow,... thanks for taking it easy on the new guy.

I'm green when it comes to bass gear and I was hoping for knowledgeable people to point me in the proper general direction on how to achieve that tone.

So what do I get? A bunch of snarky remarks from people who are probably so cynical and jaded about such questions that they wouldn't recognize enthusiasm for music if it bit them in the ass.

For the record, I was referring specifically to the tones from the "rooftop" songs. They have this percussive deep growl yet midbass-enhanced quality that I crave.

Hopefully, other people who will read this will see, in me, a young enthusiastic passionate person who's willing to learn about the instrument and its gear. Making stupid/sarcastic comments does absolutely nothing but show a pointless disdain for what is to me a valid question.

I'll cross my fingers that somebody has some info they're willing to share with me, minus the attitude.

[Bassamatic]

The studio equipment and processing is always a large part of any recorded "sound". The bass is just the start.

[Ukiah Bass]

Recording the Beatles by Brian Kehew and Kevin Ryan notes the following signal chain was available during 1969-70:

Basses:

Rickenbacker 4001S
Fender Jazz Bass (2)
Hofner 500/1
Fender Bass VI

Bass Amplifiers:

Fender Bassman head and cabinet (1968 model, 2x15")
Ampeg Portaflex B15 (available, but no evidence of use)

Recording Inputs:

AKG C12 microphone
DIT box (this was a new invention for The Beatles, now called a Direct Box)

Recording Console at Abbey Road

Studio One: REDD.37
Studio Two: TG 12345
Studio Three: REDD.51

Tracking Machines

3M8-track
Studer J-37 four-track

Mixdown Machines

MONO: 1/4" EMI BTR2
STEREO: 1/4" EMI BTR3

Primary Outboard Gear

RS124 compressor
Fairchild 660 limiter
RS127 "Presence Box"

Effects

Echo chamber
Repeat echo
Double-tracking
Half-speed recording
Frequency control
ADT
Flanging
Leslie speaker
Tape loops

[pbass2]

The Hofner is obviously the way to go then--amps, lots of things could work. Flatwounds, of course. It just depends. The best classic Macca tone I ever got was with a Teisco hollowbody through a Pignose tube amp with a 15". Yep, Pignose. Wish I still had that thing.

A little off-topic, but one trick you can try if you're recording and looking for his recorded vibe(not so much the rooftop sound, but the studio sound), is DON'T close-mic whatever cab you're using. Experiment with mic'ing from a little bit of a distance. It's rarely done these days anymore but as I understand it they did that a lot. They also used a speaker as a mic at times, like people do now with those Yamaha Subkick things--that thing is basically an NS10 woofer on a stand.

[johnk_10]

AFAIK, the black tape wounds on his hofner were rotosounds. i had some on mine for years and they have the same yellow/gold silk on the ends.

[Ukiah Bass]

Originally Posted by pbass2

A little off-topic, but one trick you can try if you're recording and looking for his recorded vibe(not so much the rooftop sound, but the studio sound), is DON'T close-mic whatever cab you're using. Experiment with mic'ing from a little bit of a distance. It's rarely done these days anymore but as I understand it they did that a lot. They also used a speaker as a mic at times, like people do now with those Yamaha Subkick things--that thing is basically an NS10 woofer on a stand.

According to Geoff Emmerick who engineered sessions, during the Sargent Pepper days, Paul would record bass in the middle of the night when everyone else had gone home. They set the amp and mic in the middle of the studio, mic about six feet away from the amp. The room presence contributed to the fat, tubby feel of the time.