Quote:
Originally Posted by obejuan  ...like Paul Denman from Sade & Sweetback.
The dude is awesome! How does one get that nice low-end, sweet-sounding, precise thump?
I'm sure it's a combo of technique and equipment.
Any advice on how to achieve this type of sound is appreciated!
Thanks! |
It's not the gear, it's Denman's technique and time! Years of practice and self-critical listening to recordings of oneself are essential to acquire that kind of sensitivity to time. When practicing a typical Denman bassline, like "No Ordinary Love," if the subtle leaps and precise rhythmic placement he uses to bring the part to life are too hard to nail, play it slower to a metronome (yes, sorry JB), then bring it up to tempo. Most of his lines are not too hard, but the subtly is not as easy as he makes it sound. Listen, listen, listen.
And then there are the spaces he leaves where the rest of the texture, including the voices, percussion, drums, keys, etc. shine through. His notes are like the shadows of individual leaves. Building a bass part that makes room for the rest of the band, and is so satisfying that it can become the repeated signature of the tune, is the hallmark of a great bassist like Paul Denman. The perfection of the performance on the "Sade Live" DVD is humbling. OK, I guess I have descended into fan-boy drooling....back to the topic.
As far as his tone is concerned, any good active bass can do it. You need a good rig that can make clean tight lows and low mids. Use your ears to nail the EQ part, but touch and articulation are supremely important.
Touch: His finger-style touch is pretty light, and with Sade, he adds a bit of slap/pop to some tunes. Even fingerstyle, he often plays over the neck heel area on his 2-band EQ StingRay, though he uses other areas near the pickup, too. Clearly he works his tone a lot by means of touch. Again, light touch = more bottom.
Articulation: Denman, IMHO, pays very close attention to how each note is attacked, and exactly how long it is allowed to sustain. Check how he plays a lot of the "No Ordinary Love" line in a separated, quasi-staccato manner, with some notes staccato, and others slightly longer but still separated, and the syncopated notes sometimes sustained--adding weight to the "displaced" note.
I highly recommend Sade Live as a resource for studying his work. N.B., Denman is on camera only a limited amount, as Sade is rightfully the star--and what a fine artist and beauty she is. There is a telling moment on the DVD when she actually kneels before Denman, clasps her hands, and bows in thanks. An amazing moment, and quite revealing about her humility and musical intelligence.
