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Great stuff as always, Jerry. I listened when you first posted it on facebook but the extra insight into the recording here is great to read. That sound from the Koa SKB is hauntingly good.
BTW, Full Fino is my favourite track from the other album and it's ENTIRELY due to the rhythm section and particularly the bass track. Unfortunately (for composers/horn players) I am one of those bass guys who can appreciate a great melody, but ultimately all I really need to hear is the groove. The other stuff just gets in the way most of the time
Great tone and playing Jerry! Man that Koa/ash Roscoe has an awesome tone on this tune! I've always heard great things about the Avalon preamps, and more recently about the Reddi (from Greg). I guess I'll have to bite the bullet some day and get something better for my home recordings (than a $59.00 Lexicon Alpha interface).
Of course I am well aware that a lot of the sound is in the hands. ..... And it's certainly in yours Jerry!
Moises is being very generous, and he just posted another tune. This will give you some sense on the variety of genres covered on this project. And the bass sound? Kuh-kuh-koa!
Thanks for the detailed reply. I've been on the road and away from a real (non-iphone) keyboard. I must say that I am really surprised that there is no miked amp in your recordings. There is just so much fullness to the bass that I figured there had to be more to it than just the Avalon.
In my very limited recording experience I have been using a REDDI for one channel and a miked SVT and 810 in the other. The primary sound is coming from the DI but, the engineer uses the SVT to fill in the gaps and create a fuller, airier tone. The weird thing is that it sounds very close to what you are getting with just one channel. The hotness you describe explains a lot about why we do what we do.
Now, live performance is a completely different animal. That is where the REDDI really shines. The ONLY time I have been completely happy with my sound at a show is when I used the REDDI. I only used my ShuttleMax for stage volume (to the pedal steel player's chagrin).
It's kind of funny that practice sessions are at a much lower volume than recording. Everyone knows that you have to crank the bejesus out of an SVT to get the best possible tone from it. I's going to have to talk to my engineer about the Avalon. He is always looking for new toys. Of course, its not much more than $500. I might just have to buy one myself.
Thanks Jerry and Moises for sharing that one as well.
The transition at 1:20 with the perc and rhythm section is just ridiculous! I almost crapped my pants, and then had to go back and listen to it a few more times.
Moises is being very generous, and he just posted another tune. This will give you some sense on the variety of genres covered on this project. And the bass sound? Kuh-kuh-koa!
Are you using thumb pluck with palm mute to get that classic bumpy tone, or just backing off on treble and playing up towards the neck? Perfect tone for this kinda' (also great) song!
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I'm just trying to live life, not make sense of it.
Thanks, you guys! I'm sounding silly at this point, but man....this record is really something.
Palm-mute, Vic. Pretty much identical to 'Chillin' with a Bossa' from the last page, but I laid into it a bit more. There are one or two more tunes where I played tumbao as well, and I dug in even more. The bass tone on this one is strong....I'm almost afraid to hear the others.
__________________ -Jerry Devon | Mike Lull | Rob Allen | Roscoe | Sadowsky Genz Benz | Bergantino | Epifani
Thanks for posting Jerry. Great playing and great tones. It's nice to hear the differences in the Roscoes and how they all fit nicely in different contexts.
Well done.
I especially love the tone from your standard with the jazz pickups. It reaffirms my fondness of alder/pau ferro on a roscoe.
Here's an attempt to revive this thread.
This one was inspired by hearing a Tower of Power tune. I wrote it about a year ago and thought that I'd lay down the bass part with my recently acquired ash/maple Roscoe 3006 with the Demeter preamp.
Hey Y'all... New soon-to-be member of the Roscoe family - I've listened to a fair number of sound clips in this thread. Anyone point me towards some funk/R&B samples that I might have missed (especially from the two previous threads)?
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Lakland Owners Group (LOG) #454
Member of the Low End Theory Tribe
We'll having just received the new Roscoe LG-3005 you know that I had to work on a new recording!
Here's a new instrumental version of Santana's "Black Magic Woman". I originally did an abbreviated version of this on the BR-600 when I first got a Roscoe 6 about 3 years ago and thought I'd try another slightly extended version using Reason 6.5. I used my mahogany/walnut Roscoe 3006 for all solo's and chordal playing and my new mahogany/Koa Roscoe 3005 for the intro and main bass part. I played the fretless parts on my Gecko 5 string fretless.
Got the final versions of the tunes on Moises' album, and wanted to share a little fretless love.
For those who don't know my weaksauce ways, this is the bass I sold...only to heavily regret it. Fortunately, I was able to buy it back from a fellow TB'er. Stupid financial move, GREAT music move. This bass is just stupid good. Anyway...
We did two days of tracking, and this first tune you'll hear was the last cut we tackled on the first day. The fretless lounged on a stand in the studio the whole day, but I hadn't touched it in almost 10 hours. Whoops...the neck settled a bit in that time, and things went from low to LllllllllllllllllllllllllOOOOOOOOOOOOOWWWWWW. I, of course, recognized this after the engineer said, "Go." Oy. Adapt and play without excuses, right? Anyway, I really dig this tune. Great changes and a beautiful melody.
This next one was recorded early on the second day of the session. What you'll hear is the second take. I felt REALLY good about the first take...but I'm just the bass player, you know? Wah. Anyway, I'd loosened the truss rod a wee bit, so there was some more control. Here is the direction I received for the solo: "You've been awakened in the middle of the night, and you're groggy and grumpy." Since that pretty much describes me all the time, I didn't feel too challenged stepping into character.
Your tone on "Witch Hour" is fantastic, Jerry, as is your queue-taking. Man, I wish I could do that (evoke a mood so well). Just one more thing for me to work on!
Your tone on "Witch Hour" is fantastic, Jerry, as is your queue-taking. Man, I wish I could do that (evoke a mood so well). Just one more thing for me to work on!
+1!
Great tracks, ESPECIALLY Witch Hour.
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I'm just trying to live life, not make sense of it.
I'd love to know what Russel did to the bass in the mix. The sustain on your notes is so full and fat that it sounds to me like he added a healthy dose of parallel compression. It's possible he added a little dirt, too. Either that, or your bass is just ferocious (which I know it is).
Man, I want to go train with that guy for 2-3 months... unpaid internship, I'm there!
We'll having just received the new Roscoe LG-3005 you know that I had to work on a new recording!
Here's a new instrumental version of Santana's "Black Magic Woman". I originally did an abbreviated version of this on the BR-600 when I first got a Roscoe 6 about 3 years ago and thought I'd try another slightly extended version using Reason 6.5. I used my mahogany/walnut Roscoe 3006 for all solo's and chordal playing and my new mahogany/Koa Roscoe 3005 for the intro and main bass part. I played the fretless parts on my Gecko 5 string fretless.
Wow, I didn't thought that I would hear such a huge difference between the two preamps. The demeter has much more definition to it and I might be going to switch to it on my LG-3005.
Thank you Joe for the post.
Rob
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"All my life I thought air was free, until I bought a bag of chips..."
