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MOTOWN SOUND

#41
StreamerDavid said:
Jamerson's bass was recorded direct out of an Ampeg B-15. In fact, based on what I've read, the majority of studio recordings were done this way through the mid '70s.
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Jamerson's bass wasn't recorded this way, as detailed earlier in the thread. Live he used a Kustom as well as an Ampeg.

Many different techniques were used to record bass in the '60s, including DI into through that tube preamp at Motown. Fender Concert and Showman amps were recorded mic'ed as much if not more than B-15s, too.

By the '70s I doubt many recordings feature a B-15 at all.
 
#43
PastorofMuppets said:
the motown bass sound is pretty crappy on its own
the magic comes from where it sits in the mix

im sure most people here have seen this but here are actual jamerson bass lines isolated from the mix

[Invalid or Expired Link Removed]

the user name and password is

username: ricksuchow
password: jamerson
Click to expand...

Those are great. So are the McCartney tracks as well.

There is a lot of character in that Jamerson sound, too. It isn't just all bass and thump. There's overdrive, and very Precision Bass specific mids.

I think many recommend just turning down everything but the bass on the eq, and thumping away. Lots of R&B tracks from the 50s sound just like that, but this does not.

Not a great solo sound, but in the mix, fantastic.
 
#44
On the Standing in Shadow audio cd set there are a few isolated bass tracks where the bass sounds like an early 60's 15", which were low wattage, pushed to the brink of disintegrating with flapping and farting noise. Like pushing a cheap practice amp with a hot signal. Not something you'd try to acheive. A lot of the bad traits are lost in the mix of other instruments and what's heard is the bass tone we all love.
 
#45
One Drop said:
Jamerson's bass wasn't recorded this way, as detailed earlier in the thread. Live he used a Kustom as well as an Ampeg.

Many different techniques were used to record bass in the '60s, including DI into through that tube preamp at Motown. Fender Concert and Showman amps were recorded mic'ed as much if not more than B-15s, too.

By the '70s I doubt many recordings feature a B-15 at all.
Click to expand...


that's exactly right--he was recorded direct at motown. 62 p bass/heavy labella flats/foam mute...gotta have the foam mute to get close to that tone. ideally it's on top of the strings using the chrome cover, but you could put it under the strings too--you'll have to do it that way on a g&l. i have my 66p set up this way right now except Sadowsky (which are labella) flats--didn't want to subject an old bass to those very heavy gauge labella strings

also--"i want you back" was recorded by Wilton Felder, who used a Telecaster bass w/flats
 
#46
PastorofMuppets said:
the motown bass sound is pretty crappy on its own
the magic comes from where it sits in the mix

im sure most people here have seen this but here are actual jamerson bass lines isolated from the mix

[Invalid or Expired Link Removed]

the user name and password is

username: ricksuchow
password: jamerson
Click to expand...

Very cool! thanks for the tour of Jamerson Country!!!
 
#47
I've been playing for quite a while and I couldn't get a Jamerson (or Duck) style sound until I got the right bass. No amount of twiddling with amps, pedals, compressors, tubes, flats, foam mutes can compensate for simply getting the right sound out of the bass as soon as you plug it in. Even unplugged it had the mojo. I use round wounds & have a foam mute suck under the ashtray, but the foam mute just enhances the sound, it doesn't create it.

As far as I can tell, it's 90% the right body wood, and not just "alder" but the right bass, period end of sentence. If there's some technique they used to get that tone consistently back in the day when manufacturing these puppies, I don't know what it is. I've had bases with alder & nitro that didn't have the mojo, so I really couldn't tell you what it is except go out and play lots of bases.

FWIW my 1973 p-bass was only around a grand about 5 years ago.
 
#48
StreamerDavid said:
Jamerson's bass was recorded direct out of an Ampeg B-15. In fact, based on what I've read, the majority of studio recordings were done this way through the mid '70s.
Click to expand...

Jamerson's bass was recorded direct from the bass ... not from the amp. He had a B-12 in the studio for monitoring purposes only. You are not hearing the amp on the recordings.

B-15's are nice sounding amps for recording. I used to have one.

All those Carol Kaye and Joe Osborn recordings are through a Fender Concert guitar amp. Open back too.
 
#49
Wow, thanks Rick! Listening to the farting sounds of"Reach Out". Hard to believe it's the same track. The first thing that hit me, listening to James solo, was how much he SWUNG, not so much in a traditional swinging since, but the notes are on top of the beat and just making the whole thing Move. And the playing is nearly flawless. I will bookmark this and enjoy listening to the rest of the lines. Educational and inspirational.

Ike
 
#50
Interesting, Ike, that you hear Jamerson's notes on top of the beat. To my own ears he sounds kind of laid back and leisurely, yet snappy as all get out, if that's not an oxymoron. When I play along, I tend to be ahead of him sometimes. I agree completely with your general evaluation, however. I'd like to know how some other ears here on TB hear Jamerson's groove relative to a mathematical pulse.

-Steve
 
#52
machell said:
I was getting a killer Jamerson-esque tone on a sessions yesterday - Skyline Glaub (tone at 40%) straight in a Neve Preamp and to tape.

Very nice indeed....
Click to expand...

There's nothing like plugging right into a nice preamp. I'm actually surprised how good the cheap Behringer mic pres sound in my Eurorack mixer compared to my more expensive Roland digital mixer. They only work with my buffered (active) basses though.

Plug a nice mic pre into a Crown power amp and you are all set. :D
 
#54
AJ Brown said:
That clip is unbelievable. I don't think this is the 'funk machine' either. Look at the difference in the banding on the burst near the upper horn...

[Invalid or Expired Link Removed]
muso_james_jamerson01.jpg
Click to expand...

Photos/light have a strange way of playing tricks; I suspect it's the same bass.
 
#56
Back when Motown ruled, I used a 59 P Bass strung with LaBella flats, heavy gauge, high action. Ran the bass wide open on vol & tone, usually into a Fender Bassman 50 watt head powering two JBL 15s. Underpowered by today's standards, but remember that bands weren't as loud in1967. I ran the Bassman tone controls at full treble, about 50% bass. The combination of flatwounds, the natural sound of the bass and the 15s gave me plenty of bottom. The treble allowed me to cut through. Today I use a Lakland 5594 with TI Jazz flats and a Genz Benz NEOx 400. Still sounds like Jamerson (even direct).
 
#57
Someone said it earlier, but again, roll off the neck pup to about 80%. The split MFD is very hot, and very "barky", and turning it down a bit will tame it. Make sure you're using a foam mute and flats.

I also like to roll the bridge pup up to about 20% as well. It sweetens it up a little.

Ljazz
 

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