LINCOLN GOINES Tone

[Type-55]

Any idea what rig Lincoln plays through on this video?
http://www.youtube.com/watch?v=mVklZUQmhfI
Saw him a few years back and he used the Epi 3x10
but I don't see any Epifani logos unless they were removed.

[KJung]

Love his playing and his tone. Can't make out the rig, but IMO and IME, the key to his tone (besides his wonderful overall technique) is that soapbar placed close to the bridge, passive bass, and digging in close to the bridge. The pickup placement, right hand position, and the passive design (edit: as posted below, I forgot that his bass has a preamp) results in that 'hear the windings on the B string' warm, punchy, articulate tone.

Any rig would do, quite frankly, but IMO and IME the 'scooped' tone profile of the EpiUL cabs would work hard against that tone. A 'tighter/brighter' cab like the Genz Benz NeoX112, etc. would get you there with a bass at least somewhat similar to what he uses. The closest to that particular Fodera spec bass that I've experienced is a relatively similar design and pickup placement offered by Pete Skjold (for a fraction of a fraction of the price).

IMO and IME!

[Zentner]

Lincoln was a sadowsky endorser for the longest time, and he's now a fodera guy, and his bass has very little control compared to most of the pope equipped foderas. I think KJung's right on the money with the passive sounds, and the epi comment.

[Zootsuitbass]

That's his direct tone. It's not passive the pre is in a fixed position with internal pots.

The real question is weather that's his 33 or 34 inch scale bass. He has one of each.

Alain Mallet is a freaking genius. One of my faves.

[JimmyM]

How to get Lincoln Goines tone? Be Lincoln Goines.

[KJung]

Originally Posted by Zootsuitbass

That's his direct tone. It's not passive the pre is in a fixed position with internal pots.

The real question is weather that's his 33 or 34 inch scale bass. He has one of each.

Allan Mallet is a freaking genius. One of my faves.

I remember that now. I would still recommend a passive design for those that dig that tone. As JimmyM points out, much is Lincoln, but that spec will at least give you a shot! I wouldn't think the scale would have a huge impact on the tonal performance of an instrument (especially the very small percentage scale difference between 34" and 33" scale), but pickup type and location would be pretty key.

+1 totally to your comment about most bass tones (especially in the jazz and pop categories) that we love on recordings are 'direct'. The key(IMO) is to find an amp and especially a cab that have at least a bit of that particular tone (whether you dig Anthony or Marcus or Lincoln or whoever) baked in, so that you have a rig that can most easily provide that basic tone profile in a live setting IMO and lots of IME.

Lincoln is just a magnificent player. His work (notes, feel and tone) on Bill Connors 'Resurrection' (I might have that name wrong, but something like that) is one of my favorite recorded bass performances on virtually every dimension. Amazing.

[Type-55]

Originally Posted by JimmyM

How to get Lincoln Goines tone? Be Lincoln Goines.

Not trying to be Lincoln Goines, maybe in my next life.
Just admiring his tone and playing.

[Randyt]

Heres the spec page from Fodera about his bass
http://www.fodera.com/Main/BassModels.aspx?SeriesID=14

[Type-55]

Originally Posted by KJung

Love his playing and his tone. Can't make out the rig, but IMO and IME, the key to his tone (besides his wonderful overall technique) is that soapbar placed close to the bridge, passive bass, and digging in close to the bridge. The pickup placement, right hand position, and the passive design (which reduces the deep lows and upper treble a bit that you get with an active/buffered system) results in that 'hear the windings on the B string' warm, punchy, articulate tone.

Any rig would do, quite frankly, but IMO and IME the 'scooped' tone profile of the EpiUL cabs would work hard against that tone. A 'tighter/brighter' cab like the Genz Benz NeoX112, etc. would get you there with a bass at least somewhat similar to what he uses. The closest to that particular Fodera spec bass that I've experienced is a relatively similar design and pickup placement offered by Pete Skjold (for a fraction of a fraction of the price).

IMO and IME!

The Fodera I'm familiar with it was the amp cab combo in question.
It might be a custom one off from somebody in NYC as well.
Nice fat thick tone for fusion, but nice definition as well.
Not my style of music but again admiring the playing and the tone. Recording process might be in there too.

[Ric Vice]

Originally Posted by KJung

Love his playing and his tone. Can't make out the rig, but IMO and IME, the key to his tone (besides his wonderful overall technique) is that soapbar placed close to the bridge, passive bass, and digging in close to the bridge. The pickup placement, right hand position, and the passive design (which reduces the deep lows and upper treble a bit that you get with an active/buffered system) results in that 'hear the windings on the B string' warm, punchy, articulate tone.
!

+1
I had the opportunity to hear Lincoln when he came to St. Louis with Dave Samuels. He was using his Fodera directly into the house SWR, with a 4x10, and running the DI from the amp into the house. He sounded just like Ken describes him, in his post above. It's a very nuanced sound coming off the instrument because of his ability to finesse each note. So his hands, ears and technique are able to get his signature sound, regardless of the amp he's using.

I think it's also important to note that Lincoln was, and is a Double Bass player, so that sound he's going for, has it's roots in his experience playing the Upright. This was also true of James Jamerson and many older players.
I've seen Jimmy Haslip in the same club, with the same amp, get a totally different, but equally beautiful sound. Studio Road Warriors are so technically and sonically proficient, that the seldom worry about the amps they play through.

Ric

[Type-55]

Originally Posted by Ric Vice

+1
I had the opportunity to hear Lincoln when he came to St. Louis with Dave Samuels. He was using his Fodera directly into the house SWR, with a 4x10, and running the DI from the amp into the house. He sounded just like Ken describes him, in his post above. It's a very nuanced sound coming off the instrument because of his ability to finesse each note. So his hands, ears and technique are able to get his signature sound, regardless of the amp he's using.

I think it's also important to note that Lincoln was, and is a Double Bass player, so that sound he's going for, has it's roots in his experience playing the Upright. This was also true of James Jamerson and many older players.
I've seen Jimmy Haslip in the same club, with the same amp, get a totally different, but equally beautiful sound. Studio Road Warriors are so technically and sonically proficient, that the seldom worry about the amps they play through.

Ric

His phrasing has an upright influence for sure.
His tone also has a upright sound but with nice definition.
That's was partially what intrigued me when I saw the video.
I agree about the amps these guys use. They have their sound regardless. It was just in this video that the tone really struck me.

[spcmstrbtasp]

at 6:25 (during the bass solo) it looks like an SWR combo behind Lincoln. Admittedly the video is not clear, so it's hard to tell. This supports the theory that tone is in hands of the player...

[KJung]

Originally Posted by spcmstrbtasp

at 6:25 (during the bass solo) it looks like an SWR combo behind Lincoln. Admittedly the video is not clear, so it's hard to tell. This supports the theory that tone is in hands of the player...

Again, on most recordings, you don't even hear the backline.

As most realize, tone is in the hands, the strings, the bass, the amp, the DI, the recording console, and a lot of other things

[JimmyM]

Originally Posted by KJung

Again, on most recordings, you don't even hear the backline.

As most realize, tone is in the hands, the strings, the bass, the amp, the DI, the recording console, and a lot of other things

If there are live mics onstage, you do hear the backline, and you hear it more than you would expect.

[KJung]

Originally Posted by JimmyM

If there are live mics onstage, you do hear the backline, and you hear it more than you would expect.

+1 It all mixes together, especially in more 'non professional' situations where you have guys playing too loud on stage, and also lack of hi passing on vocal mic's etc, to control at least a bit for that bleeding issue.

[Leo Smith]

Originally Posted by spcmstrbtasp

at 6:25 (during the bass solo) it looks like an SWR combo behind Lincoln.

I agree. It looks like an SWR Redhead?

Anyway, great video and great playing. Lincoln Goines is one of my favs. He brings the flava and gets the job done! I aspire to do that....

[sconix]

In another of the drummer's videos (he has 5) it clearly shows a Workingman's 15, a Countryman DI and a small stand that is likely a cab mic. It's on the 'Bowlegged' video about 1 min into it. Now the equipment is modest, but the skills are not.

[Type-55]

Originally Posted by KJung

+1 It all mixes together, especially in more 'non professional' situations where you have guys playing too loud on stage, and also lack of hi passing on vocal mic's etc, to control at least a bit for that bleeding issue.

I'm not sure what the purpose of the video was but it sounds professionally done. Close miked drums and low ambient noise level and perfect dynamic levels between each instrument. It almost sounds too perfect. IMO. But it sounds great. What auditorium did they record this in? At Berklee I assume?

[Just Thumpin']

Lincoln's bass is not a passive instrument. It is Active all the time. It is just that Lincoln had us do the preamp in a way that the tone controls are all on trim pots inside the back cavity...

He has exactly the same control as all other Pope equipped Foderas...just not on the fly. Kind of "set it and forget it."

Jason

Originally Posted by Zentner

Lincoln was a sadowsky endorser for the longest time, and he's now a fodera guy, and his bass has very little control compared to most of the pope equipped foderas. I think KJung's right on the money with the passive sounds, and the epi comment.