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Club Sadowsky!!!

#34,241
Vic said:
There's a groove lesson in every single song... especially for rhythm section folks like us... even if it's a synth bass part.
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YES...I have a buddy who is a drummer that I play with all the time, and he's currently learning bass. In addition to all the basics, I started him playing James Brown bass lines because so many of them are simple in terms of notes but will teach you everything you need when it comes to pocket and groove. Lately we've moved on to Michael Jackson songs and it's great to watch his development as a bass player...songs like Shake Your Body To the Ground, Billie Jean, Off the Wall, Workin Day and Night, PYT, Thriller, just so many great bass lines that will get you GROOVIN!
 
#34,242
Vic said:
FWIW, I don't mean to sound overly critical. You may not know this, but Steve is a good friend of mine. And at least IMHO, the song didn't really diverge enough from the original to give me the sense they were really working specifically to respin it.

Again, no biggie, just FWIW. Steve's a buddy.
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Hey Vic, yes I do know that. Didn't intend to ruffle feathers either way. What I meant by arrangement is that the instrumentation is different. So Steve is playing underneath a prominent guitar line that isn't there on the original recording. Guitar is playing same line. So someone obviously made a conscious decision that is how it would go down. The ensemble work sounds pretty well done to me. It's just different. That's all. BTW I have the same pref you voiced.

AND the Sadowsky sounds fabulous in the mix. What else would you expect. 8^)
 
#34,243
vision said:
YES...I have a buddy who is a drummer that I play with all the time, and he's currently learning bass. In addition to all the basics, I started him playing James Brown bass lines because so many of them are simple in terms of notes but will teach you everything you need when it comes to pocket and groove. Lately we've moved on to Michael Jackson songs and it's great to watch his development as a bass player...songs like Shake Your Body To the Ground, Billie Jean, Off the Wall, Workin Day and Night, PYT, Thriller, just so many great bass lines that will get you GROOVIN!
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Amen! Bringin' him up right! :)
 
#34,244
burk48237 said:
Well maybe the band leader critics will like this one better.:D This is an original song from Ben West (Glee MD, "Try" Pink) whose a pretty good writer from the D. The Bass line is my own, simple, for a simple song.


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Did they not give you the full track that has a full band arrangement?
That tune is on Danny's disc and there is a full band version.
We've played it before.

Anywho, bass sounds nice.
 
#34,245
MikeBass said:
Did they not give you the full track that has a full band arrangement?
That tune is on Danny's disc and there is a full band version.
We've played it before.

Anywho, bass sounds nice.
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Yeah, they did, they cut it back though because there were no dancers available. I played both bass lines for Matt and he liked my take better because it doubled the guitar line. Mike, couldn't you have danced that weekend?:D
 
#34,246
bucephylus said:
Hey Vic, yes I do know that. Didn't intend to ruffle feathers either way. What I meant by arrangement is that the instrumentation is different. So Steve is playing underneath a prominent guitar line that isn't there on the original recording. Guitar is playing same line. So someone obviously made a conscious decision that is how it would go down. The ensemble work sounds pretty well done to me. It's just different. That's all. BTW I have the same pref you voiced.

AND the Sadowsky sounds fabulous in the mix. What else would you expect. 8^)
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I just follow orders when it comes to band leaders. :hiding:
 
#34,250
bucephylus said:
The whole arrangement is different. Picking on the bass part which is simply supporting the rest of the arrangement is a bit off target, IMO. Don't care for the arrangement vs original? Cool I can understand that. The problem with this kind of tune is if you are going to change anything, it really needs a whole different spin. IMO. Otherwise everyone treats it critically like the NYPhilharmonic performing Beethoven's 5th. IMO.
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+1. Checked in with the original, which I'd not heard in years. Whole different pocket, whole different context, different, different, different.

Who cares?

If the arrangement worked in the intended context, cool. And yes, the Sadowsky tone was...killer.

And if nothing else, it was cool to re-connect with the original. I ain't no theory guy, but that original bass synth line is deceptively deep - it hits on 1 after the sixteenth-note pickup, but the slow, deliberate walk of straight eighths into a very heavy 3 - it's like 3 becomes the strong beat of every measure, followed by the lift of those handclaps along with the snare on the 4, both echoing across space before the bass line pick-up note next cycles around. Meanwhile the rhythm guitar, secondary synths and horn lines are percolating along at a syncopated sixteenth-note rate, but that bass line, insistently oozing into that big, fat 3, is like the voice of inevitable doom. The gap between the release off of 3 and the following pick-up, while the clap on 4 echoes through that space - it's the eternal void.

Thanks for the invitation to revisit a classic. You hear these tunes for decades and easily can take them for granted, but going back with fresh ears was a treat.

And now, back to the regularly scheduled program...
 
#34,251
Just extending Joes rumination a a bit further. Sine I am a synth and bass player, I know what I'm talking Bout. The sixteenth note right before the one (in classical music we'd call that a grace note), is a very natural thing for the left hand to play on a synth. Its just a rocking motion of the wrist. thats why you will hear it over and over in synth basslines. And a quick way to know you are listening to a synth not regular bass. Whereas usually not such a natural motion to play on a bass.
 
#34,252
Holdsg said:
Just extending Joes rumination a a bit further. Sine I am a synth and bass player, I know what I'm talking Bout. The sixteenth note right before the one (in classical music we'd call that a grace note), is a very natural thing for the left hand to play on a synth. Its just a rocking motion of the wrist. thats why you will hear it over and over in synth basslines. And a quick way to know you are listening to a synth not regular bass. Whereas usually not such a natural motion to play on a bass.
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Interesting!

Not to beat a dead horse, but if 3 is the strong beat for each measure, via the bass line, then each two-bar phrase is like doing a backbeat in half time. So you have the snare hitting the usual backbeat on 2 and 4 of each measure, but also the bass providing a strong 3 in each measure, so the one-measure bass line coming around twice is also hitting a backbeat on 2 and 4 in half-time (hits on 3 and 7, across an 8-beat two bar phrase). Meanwhile, the rhythm guitar, horns, etc. are skittering along in sixteenth notes, implying a double-time feel. Time, half-time and double-time, all at once.

So, a "simple" pop tune that could be characterized as hosting three simultaneous layers of time.
 
#34,256
Holdsg said:
Just extending Joes rumination a a bit further. Sine I am a synth and bass player, I know what I'm talking Bout. The sixteenth note right before the one (in classical music we'd call that a grace note), is a very natural thing for the left hand to play on a synth. Its just a rocking motion of the wrist. thats why you will hear it over and over in synth basslines. And a quick way to know you are listening to a synth not regular bass. Whereas usually not such a natural motion to play on a bass.
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The 1/16 "grace notes" although not such a natural motion on bass guitar are often done with open string "ghost"notes or unfretted "dead"notes to a similar if not equal degree. I am in such habit of both that I tend to prefer them to a fretted note in many cases.
B.
 
#34,257
roadkill2309 said:
I was gonna bring up my Lakland, actually...
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My Lakland DJ4 has Sadowsky pickups (and knobs), does that count? I thought about buying a drop-in preamp for it as well.

Still waiting on my new pickguard for my HPJ.
ImageUploadedByTalkBass1368328026.437548.jpg
 
#34,260
hi,
I will order metro modern 5,i have a question for m5
as you know there are two option for m5, alder/rosewood and ash/maple
i found many sound clips for ash/maple but not for alder/rosewood
is there anyone who played alder/rosewood m5? is there any big difference sound than ash/maple ?
 

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