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Why do the session legends all use P basses? (SBL Video Discussion)
- Thread starter citizenchris099
- Start date
My wife and I recorded an album of her original songs a few years back and we booked a wonderful flamenco style guitarist for two songs. Even though he played beautifully, he had a totally unusual idea of where to place his runs.Did you get residuals from the HBO things? Not to start another parallel hornet's nest.
First time the sampling thing happened to me was late 80's in LA. I was just transitioning from guitar to bass and I got a call to do some guitar for a "funk" project that actually turned out to be early rap. I went into the studio, ran my Strat direct into the board, played some different figures to a drum machine track and left. I heard a rough mix a couple of weeks later and they'd basically sliced and diced what I played into something completely different and out of context. I guess they didn't want to sample Jimmy Nolen (which would have sounded way better than me). Digital definitely changed everything...
After many attempts to get a his parts in appropriate places we gave up and just said go for it and play whatever/wherever you feel. He put down some great runs but they just seemed to be in all the wrong places.
We took the songs home and spent about three days cutting and pasting so that the parts all sat nicely where we needed them and they supported the vocals very well. The end result turned out great but even though it was all digital, I nearly wents nuts in the process. It was a very tricky job.
Digital is the editors friend. No more with the white pencil, blade and tape and ages spent getting the cut seamless.
The bass went direct by the way. I’ve never recorded with an amp in thirty years or so of being a professional and I’ve never had an engineer or producer tell me to use a different bass. Some of them liked my Precision and commented on it’s great sound but none ever said don’t play the Stingray.
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Talkbass was invented for threads like this. We welcome any opportunity for people to let us know that they A) don't agree b) don't know about or like contemporary music. This is very, very important. It should be very clear that nobody ever wants any thing at all to do with any level of success. So cute, with the opinions.
Hold on there a minute, partner. Not that simple. The vast majority of recording artists do not have artistic control over their releases. Most recording artists never achieve this. Obviously, its in a label's best interests to develop and shepherd the creative artistry of their talent pool. But if you think signed artists don't have to do what they're told, you are living in a world of dreams. It is almost always the record producer employed or hired by the label who has absolute and final say over the content of a release. If you have heard as many national acts as I have before, during and after they got signed, you would know why.
Of course, there are always going to be exceptions to this rule. These days, you can even release your own material without the shepherding, guidance and facilities of a seasoned record producer. Go for it.
This is spot on. I’ve known few people with less control of their art than newly signed artists. If you’re paying for your time, fine. Take whatever time you need, and use whatever gear you want. But when a label is investing in you, a lot of that goes away.
Whenever someone fronts you money for your art, they will have a say in it. And they may very well insist on the bass the producer feels most comfortable with.
Golden rule is always in play. As the old joke goes, "what's the difference between a musician and an entertainer? The entertainer gets paid."
There is making art, and there is the business of art. Two completely different things that collide from time to time, often in unpleasant ways.
There is making art, and there is the business of art. Two completely different things that collide from time to time, often in unpleasant ways.
This is an interesting topic. It makes me wonder if it's the Fender name, P-style instrument or strictly that sound that gets the gig.
I just watched it and was thinking something similar. The sound engineers that requested the P bass already had a preference for that sound. It's a great tried and true sound, like the sound on a million hit records. It probably will always have that place.
Can't speak for anyone else, but I most certainly liked contemporary music.... back when it had substance. The thrill is gone.... has been for years in case you missed it.
The success / so cute part? Please tell us more. (give us your opinion)
Coincidence, I just watched this video today and agree 100% with them especially if you're a studio player. I'm not a studio player but have been recording since the early 70's and I've been hearing that since I started. I have used other basses in the studio, Rics mainly and they sound good too but a P bass sounds good for just about anything. A P bass just lays in the track better than just about anything else.
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Not meaning to shift thee thread, but that's interesting that Manring has his Zon threaded with only 3 strings. huh...
Having watched the rest of the video Sean basically says he brings about 5 basses (2 Ps, Hofner, Starfire and a 5 string) a tight pedal board DI and amp to his sessions. 90% of the time he doesn't hear the music before hand so has to field what is wanted once he walks in the door. Most often the starting point is a P with rounds but he also has a P with flats. And that may just be the starting point depending on what is wanted, he also keeps a Moog in the car on the off chance they want to do a synth bass.
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At 42:58 and 45:43 he adjusts the Detuner for the G string.
Why would he do that if there was no string?
It's not visible against the fingerboad.But it's there.
