That series was the greatest TV show ever. I learned all about guitar face from the Gary Moore episode.
Enjoy the benefits of a premium membership!
Upgrade Account
-
Welcome to TalkBass! Want to remove ads? Register an account and login to see fewer ads, and become a Supporting Member to remove almost all ads.
Bootsy Collins on Jaco Pastorius
- Thread starter Bart Funk Bass
- Start date
-
- Tags
- alembic bass bernard edwards bootsy collins chic fender precision funk bass get on the floor good times graham central station hitsville isolated bass isolated bass track james jamerson larry graham louis johnson michael jackson motown music man bass nile rodgers prince slap bass slapping bass sly and the family stone victor wooten
Kinda ironic how un-funky it is when you take away the drums and guitars...
I disagree. Perfect line for that song, the guy plays it well, and it all comes together nicely.
Yes, it’s the perfect line for that song, and yes it all comes together nicely...when the rest of the band is playing. But when the bass is isolated by itself it is so sloppy and unfunky that it’s almost a miracle how well it all comes together. Sum Of The Parts, indeed.
You can’t argue how well that line fits the song.
Sloppy? LOL! Nobody ever said it was sloppy when it was being cut or listened to. Nothing sloppy about it.
How many of you played the unisono with the guitar? It's very common mistake.
Maybe no one ever listened to it in isolation when it was being cut. And why would you? As we both seem to agree, it "all comes together nicely" when heard in context with the drums and guitars.
You and I apparently have very different ideas about where to place 16th notes.
I found it boring by it self and Yes, I have
played it unison with the guitar player on a
few fill in gigs. lol
played it unison with the guitar player on a
few fill in gigs. lol
Yeah Bob, I tend to place my 16th notes in the context of the music I'm playing rather than an imaginary click track I'm hearing in my head
I don't think I ever have. By that time in my bass playing, I had gotten pretty good at hearing the actual bass part without letting a similar guitar part throw me.
Yeah Bob, I tend to place my 16th notes in the context of the music I'm playing rather than an imaginary click track I'm hearing in my head
Wait, is this turning into an official Internet Pissing Match®? Standby, Imma go get the popcorn...
I wonder how many people ever listen to themselves in isolation? That's not particularly sloppy for something that's meant to sit the way it does in the mix.
I've been playing a lot more lately on my own without accompaniment. I've always been primarily a live player and mostly when I practice I practice with others, either in a rehearsal or playing along with recorded music.
No one has ever accused me of being sloppy (at least not to my face) but when I play by myself it's very clear that playing within the mix is very forgiving and that I have work to do.
My isolated playing is sloppy- much more sloppy than what you are hearing in this isolated track. This guy isn't perfect, but he took that to the bank, I guess.
It's an instance of good enough being good enough. It's not fancy, not technically challenging, but did they ever have a huge success with it!
I've been playing a lot more lately on my own without accompaniment. I've always been primarily a live player and mostly when I practice I practice with others, either in a rehearsal or playing along with recorded music.
No one has ever accused me of being sloppy (at least not to my face) but when I play by myself it's very clear that playing within the mix is very forgiving and that I have work to do.
My isolated playing is sloppy- much more sloppy than what you are hearing in this isolated track. This guy isn't perfect, but he took that to the bank, I guess.
It's an instance of good enough being good enough. It's not fancy, not technically challenging, but did they ever have a huge success with it!
I recently recorded a pickup demo without compression, etc., and sloppy is definitely a thing.
A good mix can use many things that are "sloppy" but still add the feeling that's needed.
A lot of iso'd tracks from the greats aren't free of it, either. Humans are imperfect, but a good groove always works.
imo, of course.
A good mix can use many things that are "sloppy" but still add the feeling that's needed.
A lot of iso'd tracks from the greats aren't free of it, either. Humans are imperfect, but a good groove always works.
imo, of course.
I find when amateur engineers and band members listen to bass tracks in isolation it often results in a lot of needless extra work for the bassist. There are tons of "sloppy" isolated tracks out there that probably would have been questioned by a bunch of bedroom pro-tools users but managed to somehow pass muster with good engineers in big studios back in the day just because those guys were good enough to know what they could and couldn't actually let stand.
Here are a couple:
Listen to the punch at around 1:05, and then the punch out. Obviously recorded at a different time, with different settings, different tone, different STN ratio on the take. I wonder why nobody cared? I wonder why this record sold so many copies?
Here's another one.
So on this one it can be argued that the slop and grit is part of the overall "charm" of the song, and I wouldn't argue with you on that. But still... go back and listen to that Wild Cherry song again and tell me who's sloppy.
Y'all remember a band called the Traveling Wiburys? Their name came from a common studio phrase: "We'll bury it in the mix." Those guys were not amateurs and I think they'd all been in a studio or two.
Last edited: