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Brian Wilson/Carol Kaye

When we were watching the movie I tried to tell me wife about Carol Kaye. I don't think she was as excited as I was. A woman very much holding her own in a man's world. A Carol Kaye movie would be great.

I was on youtube one day and came across a video that had "Victor Wooten and some old lady at NAMM." Half the comments were along the lines of "he is so nice talking to that grandma" but at least someone chimed and said "That is Carol Kaye, she is probably teaching Victor Wooten something."
I can't imagine what she had to go through in the beginning. I'm always disappointed when they talk about women pioneers her name is seldom or never mentioned.
 
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They were not talking about Tic-Tac, since the electric was in one key and the upright was in another. I think someone else right when they said it was orchestral. Something with the upright playing the root and the electric playing the perfect fifth.
 
Motown experimented with two basses on some tracks...Some with Jamerson and Bob Babbitt, and a few with Jamerson and Tony Newton. Babbitt had stated that they really didn't come off well and sounded quite muddy...I suppose it could have something to do with Motowns recording equiptment and engineers just used to doing things a certain way, not conducive to certain types of recording innovation...or perhaps the parts were not written to emphasize the separation necessary for achieve good sonic quality???
That and Jamerson's tone was very similar (sonic-space wise) to an upright - Carol Kaye o Joe Osborne (or the guy who played the tic-tac on Patsy Cline records) went for a deliberately different sonic space with a strong attack from the pick so they parts complimented each other - on Patsy records the bass guitar was deliberately UNbassy so the click would show when played through little transistor radio speakers.
The sound is so effective I've found I can trick the audience's ears by playing ONLY tic-tac (since I can't play both) into hearing an upright.
 
Isn't that basically tic-tac bass?

Tic Tac Bass - (the style)
No - Even though I mentioned tic tac in my post before I read yours - Carol was encouraged to play complimentary parts to the upright - taking advantage of the differences in the two instruments. Tic Tac basically DOUBLEs the upright bass line to make it more present - Carol was playing a second bass line.
 
Definitely NOT in harmony, or 2 different keys. EB, DB and tic-tac bass all playing the same part. Or, as @danosix mentioned, EB is embellishing.

Check out a band called the Fendertones. They reproduce a lot of this stuff live. Cool videos too.

Check out a movie - The Wrecking Crew. Good explanations of what they did in the studio
 
Heck, the band Marmalade actually had 2 bassists, one on a p-bass and one on a fender 6, sometime he was on acoustic guitar as needed.
I love putting 2 bass lines down, using an upright and a Danelectro was pure Wrecking Crew stuff, and with these Squier 6-string basses out, it's easy to afford a 6'er to use with a nice boomy 4-string in the studio.
 
Sting/The Police did quite a bit of doubling electric and upright parts on their recordings too. Gives a very nice deep tone. I think it was always just doubling the parts, not bass harmonies.
 
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I do this too, pick and hand mute on the bridge for country songs on a thumpy short-scale bass sounds like tic-tac.

"Close Up The Honky Tonks" by Buck Owens is an example where the Bass and Bari are playing different lines ("same key I think...") that co-mingle around.
 
They were not talking about Tic-Tac, since the electric was in one key and the upright was in another. I think someone else right when they said it was orchestral. Something with the upright playing the root and the electric playing the perfect fifth.

That's how I remember it in the movie, that Carol's comment had to do with the other bass line being in a different key. I saw it months ago so my memory could be a bit foggy.