That note is being generated by his octaver, the note he's actually playing is an octave up from that. You really need an analogue octaver to get it to sound right.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
sledgehammer.... HOW???
- Thread starter poomwah
- Start date
That note is being generated by his octaver, the note he's actually playing is an octave up from that. You really need an analogue octaver to get it to sound right.
So starting on 6th fret of the A-string, and revolving around 8th & 10th frets, A-string through G-string? That would make sense for fitting in the low fills (4th fret A-string).
The octaver makes it hard to hear which octave he's actually in - I thought that the bridge between V1 & V2 started higher than the verse, but I guess it's actually lower? (Perhaps the octave effect just is more audible in the verse than the bridge because of the freq range?)
And I also thought that for the second half of that bridge, he went down an octave, but I guess he stayed on the A-string? (frets 3-4-6, 4-6-4, 4-6, 4-6), and just didn't pick as hard, resulting in more fundamental/less harmonics? ...And if the octave signal is more audible on those notes, then that too.
It does sound like he resolves that bridge on the same note as V2 starts.
Maybe I should start trusting internet tabs more...
Dark Barn said:
He played one on Gabriel's first solo album in '77. The track was "Have a wonderful day in a one way world"
Just trying to get the OC2 Settings right, I suck using a pick but that is what Tony Levin uses
Tony Levin and a pick? Not that I've ever seen...
I love playing the heck out of this song. Really close to mastering it. Tony's technique looks easy and smooth, not alot of motion as well. Reminds me a bit of carol kaye the way he strums the strings and holds the pick. 
He calls it a Cutlass (it's specifically a Cutlass II) because that's what it is: a Sabre variant with a Graphite neck. He didn't name it, Music Man did.
At 1:12, you can see him play very specifically with a pick as well.
This is taken straight from the horses mouth , if you will.
https://www.youtube.com/watch?v=ZwVDIkC2NMw
https://www.youtube.com/watch?v=ZwVDIkC2NMw
Actually that track was from Gabriel's second solo album, released in 1978
[Invalid or Expired Link Removed])
...but yes, I believe that's one of the first recorded uses of the Chapman Stick by Tony Levin.
Oh gods, the 80s.... with that sportcoat and the way he keeps flapping his arms, you'd think he was trying to fly......and he's lucky he didn't dislocate something with all the thrusting.
Absolute murder of a band, though
Tony also uses a lot of compression on that tune too-- it's what holds the octaved sound tight and doesn't let it get boomy. I've read in a couple of places (which may or may not be right) that he has one compressor before the octave and a second one after.
I used to hate this song because they played it so much on the radio, but once I could hear the bass better I very much liked it. Most big pop songs of the time had a pretty conservative bass sound, but this was pretty creative.
