Fun fact: Jamerson recorded the bass line for "What's Going On" drunk and lying on his back on the studio floor. They talk about it in the documentary "Standing in the Shadows of Motown". The man was a master.
Something more. John Entwhistle of The Who declared once: "in the old days we were all trying to play like that Motown guy". They didn't knew his name. No credits for the musicians on those LP records. The same happened wiht Carol Kaye and many studio musicians: nobody knew who they were and only recently their names are being known, although in many songs they were the real "makers" of endless hits. Once again, excuse my english.
The great session musicians toiling at Motown and Stax-Volt were quite surprised when the British Invasion hit in 1964 and the Beatles and other British performers came to the 'States, they wanted to meet these heretofore unknown players. In those days, it was uncommon for labels to credit studio musicians in album liner notes, so it took a good bit of effort and luck to track down who these great, but hidden, musicians actually were. For all of the wonderful things Berry Gordie did, his treatment of his studio musicians and production crews was pretty lousy. It's really a shame the Funk Brothers didn't get some credit and publicity while it would have done guys like Jamerson some good. Booker T.and the M.G.'s became stars in their own right, recording hits on their own when they weren't backing other artists - whereas Jamerson and the rest of the Funk Brothers had to sneak around town and record outside work under pseudonyms because of how controlling Gordy was.
@@GeorgiaBoy1961 The funk brothers were working and recording all the time- at least 2 or 3 sessions per day M-F, playing clubs and tv shows (Soupy Sales), sessions at other studios (jingles, commercials, pop songs) - that sprung up as a result of Motown's success. Thanks to Earl Van Dyke's efforts and the AFM local 5 the funks were paid when tv shows (China Beach) and films (The Big Chill etc.) used Motown songs. Imagine if Berry Gordy had not taken the risk to launch Motown... no Marvin Gaye no Smokey Robinson no Four Tops no Supremes no Temptations no Vandellas no Stevie Wonder no Contours no Jr Waller and the Allstars no Marvelettes no Gladys Knight no Velvelettes no Jackson 5 no Funk Brothers no post at TH-cam praising Jamerson and criticizing Berry Gordy.
@@geraldjensen9399 - Re: "Imagine if Berry Gordy had not taken the risk to launch Motown... no Marvin Gaye no Smokey Robinson no Four Tops no Supremes no Temptations no Vandellas no Stevie Wonder no Contours no Jr Waller and the Allstars no Marvelettes no Gladys Knight no Velvelettes no Jackson 5 no Funk Brothers no post at TH-cam praising Jamerson and criticizing Berry Gordy." The point isn't to criticize Berry Gordy, who deserves all of the credit he is due for the risks he took, the hardships he endured, and all of the rest of the struggles inherent in starting Motown. It is to note that he made a serious mistake in not giving credit to the people behind the scenes who had so much to do with the success of his enterprise. Not just the Funk Brothers, but Cholly Atkins and all of the choreographers, producers, technicians, sound men, arrangers and so forth - who made Motown what it was. No man is an island, and few business enterprises succeed without a lot of teamwork. Gordy's mistake was not to be freer in acknowledging those whose cooperation and hard work helped make the success of Motown possible. Remember, Gordy's success as a performer/songwriter, while real - was modest. He wasn't down in the "snake pit" playing drums on the Temptations latest hit or bass on the new Four Tops song. Others did those things. And should have received credit for them.
All the Motown bass parts were DI by late 1964. Motown engineers also built a one inch 8 track by late 1964 when most studios were still using Ampex half inch 4 tracks. And they went 2 inch 16 track in late 1968 when most studios were still using 8 tracks. And up until 1973 the drums at Motown were miked with only two microphones: one on the kick and one overhead. So even when Motown went 24 track in 1971 the drums were still only on TWO TRACKS - Kick and overhead. For those who are curious about that side of things. And motown cutting engineers HALF SPEED MASTERED their records until 1969!
Having the pickup cover in place is the final "Nth" degree, as it helps to keep your plucking finger located in that specific area. Jeremy mentions that in the video, but for 98% of the playing, he is directly over the pickups. It is amazing what a difference in sound there is when playing just an inch or so forward of the pickups. Also for those REALLY interested in perfecting (or approximating as closely as possible) the Jamerson sound, a bridge cover with the medium-density foam is important. Strings muted from direct pressure above have a different feel that when foam is wedged in underneath. It makes them slightly more taught, and with all the other pieces of the puzzle involved-including employing "The Hook"-you will be amazed at the bounce and lift that is suddenly there to match the tone. Regardless of whether you go to my crazy lengths with all of this ... try some of it ... and ENJOY!
All the gear stuff is a great introduction to his sound. I might have to look into that DI box. But his technique is the main thing that makes Jamerson sound like Jamerson. He played almost exclusively on the first four frets, linked most of his notes chromatically, and constantly raked between two strings for say the root and fifth below, and made frequent dramatic rakes down three or even four strings. It can be very difficult to get your head and hands around Jamerson's playstyle. It's hard to break out of playing the 5th and 7th fret type two-finger pumping stuff that most players do. But it's a very rewarding thing when it becames natural. Some great ways to get into this is to play Jamerson's chromatic warmup routine and to transcribe his playing making sure to always use open strings and the first four frets (apart from when it's obvious he's playing higher). The other side of Jamerson's sound is of course his melodic and rhythmic choices, and while I've definitely picked up some of his feel and ideas, that's a whole other thing I'm not quite qualified to talk about.
Great tone. Try using “the hook” technique a bit more exclusively for these lines. I think it changes the mind state a bit, helps you find the zen between his simplicity and his nuance.
6:15 the entire video is about James technique but there is no mention to his single finger picking style, that's how he got his nickname The Hook. Huge sound and tone difference that made it so unique.
Great video! I just missed one point of his unique right hand technique: The Hook. Jamerson played close to the fretboard with his index finger only (wich was bowed and twisted a little bit like plucking on an Upright Bass). Nevertheless he was able to play really fast and tight 16th notes - beside of the ultra-fat and brutally strong .110-.055 LaBellaFlats this was the main key to his unique sound and groove in my opinion.
I've played one of those B15 amps in person and they sound absolutely incredible. Unfortunately, they costs thousands of dollars (especially the ones from the 60s).
One little observation. Jamerson used only the index finger of his wright hand to pluck. Not two fingers. That index was known as "The Hook. He played with a stock sunburst P bass with an ink inscription in the back of the headstock: "funk machine", always with flatwounds, he refused to use rounds when they became popular (there's an old Bass Player mag refering all this). In any case it's fantastic that young fellows like you can recognice great players like Tina Weymoth, Carol Kaye or James Jamerson. They were not just fast fingers champions, but real musicians. And your videos show it. Thanks and regards from Argentina. Excuse my "english".
Great Job!! I've studied Jamerson for years. Jeremy is" spot on" with every bit of it in this video. Including the playing! Informative, concise, and correct. Nice job.I'll be looking for more videos with Jeremy Kay.
Enjoyed this. Would like to see getting the sound of Kim Deal, Tina Weymouth, Carol Kaye! It might be cool to hear something different too like reggae or Afropop styles, as a lot of guys in the US don't learn those setups.
Carol didn't have a style. (Except playing with a pick) She played what was best for the song. Check out the bass line from the Wonder Woman TV series (1978-1981). FUNKY HAS HELL. That's Carol Kaye. But at other times like on a Country record, she is playing pretty much the root note.
Nice job! Very good approximation. I play with The Miracles and getting just close to JJ’s tone isn’t good enough. I swear by the Acme DI and use it in live performances as well. I do play the heavy gauge and do find it does make a difference as opposed to the lighter strings. As an upright player as well I’m not bothered by the higher tension or high action required to get the sound.
Awesome job! Really enjoyed it! I get paid to mostly play guitar and sing but love playing bass and studying Jamerson and McCartney lines! Have a 61 EB2 bass that kinda gets Motown tone,a 74 P-Bass and 08 Ric which was redesigned and is very versatile with push/pull knob! Highly recommended!
One more key ingredient about Jameson's sound he failed to mention is, "The Hook". Jamerson plucked only with his index finger, which gave his sound a consistent, even attack.
He does mention it at 5:17. This technique was brought over from Jamerson's upright bass technique. Back in those days the electric bass was rarely used in popular music and Motown only began using it because it was extremely cheap and easy to record in the studio - one less mic. So there wasn't any standard electric bass technique at the time and Jamerson had to invent his own.
Jamerson played upright bass - mostly in jazz bands - for a long time before switching primarily to electric bass while at Motown. That's probably where he learned to rely on that strong index finger the way he did. If you watch a proficient acoustic bassist, he/she will often use the index finger (usually supported by the middle finger) to play passages not requiring exceptional dexterity or speed. Better intonation and attack that way....
Great review of Motown / Jamerson tricks. I always wondered how come there is no video of JJ playing live or in studio? I only found live audio preformances. Any info on that?
She used direct 90% of the time. She said she had also used a Fender Super Reverb 4x10 in the room, but she said the engineers liked the direct sound the most.
Carol Kaye used a Precision Bass, flatwound strings, a felt pick and primarily relied upon a Versatone Pan-o-Flex built in Sepulveda, California. She owned several and when the Wrecking Crew was in full swing, would leave them in studios where she was called upon to work in regularly. Other than that she may have played through any number of tweed Bassman amps, Fender combos and stacks of different sorts, and or direct.
She has tons of info on her FB page about what she used then and uses now. These days I think she mostly uses Ibanez basses and tapes a foam pad under the strings just in front of the bridge, not stuffed directly under the strings on the bridge plate. Also pretty much all picks all the time.
Well, the funny thing: Jamerson told Dan Forte from Guitar Player Magazine in 1979 that "Bass players call from all over, wanting to know what type of equipment I use, what type of bass, what kind of strings-- things like that. I'll tell them, but that's not what's important; it's the feel. The strings don't make the sound, it's the feel. It's all in here, in the heart."
I really enjoyed this. I’m a drummer who occasionally plays bass. I also have a couple of isolated Motown tracks and by soloing the bass I was shocked @ how distorted the bass sounds, hideous really. However, when you hear it with the other instruments it sounds brilliant. The bass sound I heard here is great, the playing is wonderful, but it does not sound at all like the isolated tracks I have of Jamerson.
Watch what you hear in those isolated tracks; a lot of them filter out other sounds and bite away at a lot of the upper harmonics on bass tracks. It can cause a weird sound, some of the nuances are clipped, other low harmonics from elsewhere added in.
Great video...two questions though: 1) Did Jamerson wedge the foam under the strings or on top and held in place by the bridge cover? And 2) does anyone what is the small silver box that looks like it’s attached to Jamerson’s bass near the bridge? It’s a little smaller than a pedal.
Finally I listen a demo of this device with the perfect amount of crunch and smooth distortion... At what stage is this actually happening? How easy / hard is to drive this Acme unit to get a more crunchier or clean sound? We listen some classic motown records with plenty of more crunch and distortion (even still sounding round and smooth but crunches) I am looking where and how to achieve that
Are the Labella Jamerson Flats good for Elvis and Beatles songs? Is the ACME Motown DI similar to the original One used in the studio by the late James Jamerson ? Thanks
I just got the Acme D.I. It uses mostly the same parts as the original and was made in cooperation with its original designer I hope to make a review video for mine very soon The NOS transformer is its sine qua non that imparts most of its goodness Some are made with new transformers made by the same manufacturer from the original (after a year’s worth of negotiations). This all I gathered watching TH-cam videos, and I might have a couple details askew. I hope that helps
I never knew Motown (Jamerson) went direct. James Jamerson and Carol Kaye are some of the two most listened to bassists in recorded history. If you watched TV in the 60's and 70's, then you've heard Carol Kaye a million times.
If anyone is interested in the 60's flatwound tone, just try some Pyramid Flatwounds, long and short scales available. My first Alembic came with a set of Pyramid Flatwounds and I've been a fan ever since 1980. I've never found a warmer sounding tone and they feel silky smooth. I like Roto's for their growl and twang but if you want that McCartney tone, try Pyramids.
Only thing missing is a pickup cover and play above the cover with index finger to complete the “ultimate” Jamerson Motown money sound. Close enough though. Good job on demonstration. 👌😁
Fun fact: Jamerson recorded the bass line for "What's Going On" drunk and lying on his back on the studio floor. They talk about it in the documentary "Standing in the Shadows of Motown". The man was a master.
Eli Berdinner he wasnt drunk. He had a back pain and was suffering. Thats why he was lying.
Either way that's crazy, there is a lot going on on the bass in that tune.
The way Jack Ashford explained the story was that he was at the jazz club blasted. He also had back pain.
Eli Berdinner - DAMM RIGHT
I don't think it was What's Going On. Too complicated to play on ones back. Now, Flying High In The Friendly Skies might have been done on one's back!
Something more. John Entwhistle of The Who declared once: "in the old days we were all trying to play like that Motown guy". They didn't knew his name. No credits for the musicians on those LP records. The same happened wiht Carol Kaye and many studio musicians: nobody knew who they were and only recently their names are being known, although in many songs they were the real "makers" of endless hits. Once again, excuse my english.
The great session musicians toiling at Motown and Stax-Volt were quite surprised when the British Invasion hit in 1964 and the Beatles and other British performers came to the 'States, they wanted to meet these heretofore unknown players. In those days, it was uncommon for labels to credit studio musicians in album liner notes, so it took a good bit of effort and luck to track down who these great, but hidden, musicians actually were. For all of the wonderful things Berry Gordie did, his treatment of his studio musicians and production crews was pretty lousy. It's really a shame the Funk Brothers didn't get some credit and publicity while it would have done guys like Jamerson some good. Booker T.and the M.G.'s became stars in their own right, recording hits on their own when they weren't backing other artists - whereas Jamerson and the rest of the Funk Brothers had to sneak around town and record outside work under pseudonyms because of how controlling Gordy was.
@@GeorgiaBoy1961 The funk brothers were working and recording all the time- at least 2 or 3 sessions per day M-F, playing clubs and tv shows (Soupy Sales), sessions at other studios (jingles, commercials, pop songs) - that sprung up as a result of Motown's success. Thanks to Earl Van Dyke's efforts and the AFM local 5 the funks were paid when tv shows (China Beach) and films (The Big Chill etc.) used Motown songs. Imagine if Berry Gordy had not taken the risk to launch Motown... no Marvin Gaye no Smokey Robinson no Four Tops no Supremes no Temptations no Vandellas no Stevie Wonder no Contours no Jr Waller and the Allstars no Marvelettes no Gladys Knight no Velvelettes no Jackson 5 no Funk Brothers no post at TH-cam praising Jamerson and criticizing Berry Gordy.
@@geraldjensen9399 - Re: "Imagine if Berry Gordy had not taken the risk to launch Motown... no Marvin Gaye no Smokey Robinson no Four Tops no Supremes no Temptations no Vandellas no Stevie Wonder no Contours no Jr Waller and the Allstars no Marvelettes no Gladys Knight no Velvelettes no Jackson 5 no Funk Brothers no post at TH-cam praising Jamerson and criticizing Berry Gordy."
The point isn't to criticize Berry Gordy, who deserves all of the credit he is due for the risks he took, the hardships he endured, and all of the rest of the struggles inherent in starting Motown. It is to note that he made a serious mistake in not giving credit to the people behind the scenes who had so much to do with the success of his enterprise. Not just the Funk Brothers, but Cholly Atkins and all of the choreographers, producers, technicians, sound men, arrangers and so forth - who made Motown what it was. No man is an island, and few business enterprises succeed without a lot of teamwork. Gordy's mistake was not to be freer in acknowledging those whose cooperation and hard work helped make the success of Motown possible. Remember, Gordy's success as a performer/songwriter, while real - was modest. He wasn't down in the "snake pit" playing drums on the Temptations latest hit or bass on the new Four Tops song. Others did those things. And should have received credit for them.
Bassist Bob Babbitt was terrific on numerous Motown recordings and hits. No matter which instrument, there was always more than one “Motown Guy”.
James Jamerson was McCartney's bass Hero
this is pretty much the most legit explanation of the jamerson tone i've ever seen, it's perfect.
All the Motown bass parts were DI by late 1964. Motown engineers also built a one inch 8 track by late 1964 when most studios were still using Ampex half inch 4 tracks. And they went 2 inch 16 track in late 1968 when most studios were still using 8 tracks. And up until 1973 the drums at Motown were miked with only two microphones: one on the kick and one overhead. So even when Motown went 24 track in 1971 the drums were still only on TWO TRACKS - Kick and overhead. For those who are curious about that side of things. And motown cutting engineers HALF SPEED MASTERED their records until 1969!
thats awesome info! Where did you get it? I love that the drums were just kick and overhead, and it sounded better than Neil Peart. At least imo.
🤓 I love it!
What do u mean half speed mastered?
Having the pickup cover in place is the final "Nth" degree, as it helps to keep your plucking finger located in that specific area. Jeremy mentions that in the video, but for 98% of the playing, he is directly over the pickups. It is amazing what a difference in sound there is when playing just an inch or so forward of the pickups. Also for those REALLY interested in perfecting (or approximating as closely as possible) the Jamerson sound, a bridge cover with the medium-density foam is important. Strings muted from direct pressure above have a different feel that when foam is wedged in underneath. It makes them slightly more taught, and with all the other pieces of the puzzle involved-including employing "The Hook"-you will be amazed at the bounce and lift that is suddenly there to match the tone. Regardless of whether you go to my crazy lengths with all of this ... try some of it ... and ENJOY!
Patrick "Daddy O" Rowling knows bass tone. True.
I’m obsessed with learning the Jamerson sound and technique, so I will take your advice! Thanks!
Jeremy didn’t mention The Hook. 😬
🤔 Blues Traveler was right, The Hook brings you back every time. 😂
Wow that bass sounds beyond divine.
not even a bass player and could watch this for hours
Man, this was great. I don't even play bass but I love Motown. A Motown guitar lesson would be killer
Thanks, that's a great idea.
I jammed with Joe Messina 12/28/16 look on my FB Danny Tune Jones
@@Reverb but it is not found :(
@@Reverb where is it
James Jamerson will live forever in his unforgettable basslines that made great songs become classics.
All the gear stuff is a great introduction to his sound. I might have to look into that DI box. But his technique is the main thing that makes Jamerson sound like Jamerson. He played almost exclusively on the first four frets, linked most of his notes chromatically, and constantly raked between two strings for say the root and fifth below, and made frequent dramatic rakes down three or even four strings. It can be very difficult to get your head and hands around Jamerson's playstyle. It's hard to break out of playing the 5th and 7th fret type two-finger pumping stuff that most players do. But it's a very rewarding thing when it becames natural. Some great ways to get into this is to play Jamerson's chromatic warmup routine and to transcribe his playing making sure to always use open strings and the first four frets (apart from when it's obvious he's playing higher). The other side of Jamerson's sound is of course his melodic and rhythmic choices, and while I've definitely picked up some of his feel and ideas, that's a whole other thing I'm not quite qualified to talk about.
"There's no money above the fifth fret." - Jamerson (have also heard that quote credited to Donald "Duck" Dunn)
Radial Engineering make incredible D.I. boxes. Check them out.
I vote for more sound like bass vids too. Dude did a great job. Thank you.
superb video. do more like it, please.
Great tone. Try using “the hook” technique a bit more exclusively for these lines. I think it changes the mind state a bit, helps you find the zen between his simplicity and his nuance.
what a good dude explaining this stuff too!!
A cool dude with good explanations and demonstrations.
6:15 the entire video is about James technique but there is no mention to his single finger picking style, that's how he got his nickname The Hook. Huge sound and tone difference that made it so unique.
5:19 he mentions it here
Good video huge Jamerson fan and the reason I picked up the Bass...well done
Great video! I just missed one point of his unique right hand technique: The Hook. Jamerson played close to the fretboard with his index finger only (wich was bowed and twisted a little bit like plucking on an Upright Bass). Nevertheless he was able to play really fast and tight 16th notes - beside of the ultra-fat and brutally strong .110-.055 LaBellaFlats this was the main key to his unique sound and groove in my opinion.
My favs of Jamerson's is. I was made to love her and Bernadette! He was the greatest!
Man this is really great, you got all the little bits that make Jamerson!
that Acme DI really nails that tone! Great stuff
ALL BASS AND GUITARS AT MOTOWN WENT DIRECT AFTER LATE 1964. THAT INCLUDES BABBIT AND CARL KAY (SHE HAS A LOT OF NERVE CLAIMING JAMES BASS LINES!)
Really outstanding tutorial. Thanks for a great vid!
God that DI sounds brilliant! When acme was on the sound just blew me away!
AFAIK, Jamerson rarely changed strings... so old, well-used (and probably rusty) strings are a crucial part of the equation.
Yes but he didn't leave the same set on for ten years like stupid Metal bass players today do. He changed them once every 2 or so years.
@@JohnMorris-ge6hq pretty sure he never changed the strings on his bass unless they broke
These videos are so relaxing.....
He's going for that James Jamerson sound, but he's also going for that George Harrison look - that Abbey Road/Concert for Bangladesh look.
Elliott Christ 8
...dare I say it could be the Charles Manson look as well...? :-O
@@adamlewis1961 well more like Dennis Wilson
Don't forget tone knob rolled right off...
The P Bass pick up cover was used commonly as a thumb rest...
Great video and really well explained/played.
I've played one of those B15 amps in person and they sound absolutely incredible. Unfortunately, they costs thousands of dollars (especially the ones from the 60s).
One little observation. Jamerson used only the index finger of his wright hand to pluck. Not two fingers. That index was known as "The Hook. He played with a stock sunburst P bass with an ink inscription in the back of the headstock: "funk machine", always with flatwounds, he refused to use rounds when they became popular (there's an old Bass Player mag refering all this). In any case it's fantastic that young fellows like you can recognice great players like Tina Weymoth, Carol Kaye or James Jamerson. They were not just fast fingers champions, but real musicians. And your videos show it. Thanks and regards from Argentina. Excuse my "english".
Great tips on looking for that groovy motown sound. Thanks a lot!
Thank you!!!! Great video. I really didn't learn nothing I already didn't know but it gave me a nice feeling watching it.
Great Job!! I've studied Jamerson for years. Jeremy is" spot on" with every bit of it in this video. Including the playing! Informative, concise, and correct. Nice job.I'll be looking for more videos with Jeremy Kay.
Wrong
Back then Flat Wound is all Music Stores Carried until RotoSound came along !
James Jamerson, P Bass Funk Machine & Motown Records ❤
This guy is great, do more videos with him
Enjoyed this. Would like to see getting the sound of Kim Deal, Tina Weymouth, Carol Kaye! It might be cool to hear something different too like reggae or Afropop styles, as a lot of guys in the US don't learn those setups.
Carol didn't have a style. (Except playing with a pick) She played what was best for the song. Check out the bass line from the Wonder Woman TV series (1978-1981). FUNKY HAS HELL. That's Carol Kaye. But at other times like on a Country record, she is playing pretty much the root note.
Nice ... James Jamerson was a hero to me.
A BASS GOD.
Same here, but I've found that I don't play much like him. Nuances.
Great video - love the playing and tone!
Nice job! Very good approximation. I play with The Miracles and getting just close to JJ’s tone isn’t good enough. I swear by the Acme DI and use it in live performances as well. I do play the heavy gauge and do find it does make a difference as opposed to the lighter strings. As an upright player as well I’m not bothered by the higher tension or high action required to get the sound.
I just got the Acme D.I.
How do you use yours (the signal path)?
God Bless you.
EXCELLENT WORK MY MAN, SOUNDING GOOD!!!
Awesome job! Really enjoyed it! I get paid to mostly play guitar and sing but love playing bass and studying Jamerson and McCartney lines! Have a 61 EB2 bass that kinda gets Motown tone,a 74 P-Bass and 08 Ric which was redesigned and is very versatile with push/pull knob! Highly recommended!
You really nailed the Jamerson tone. Well done!
When did george harrison start playing bass
Whenever Paul wanted to play piano :-)
Dude, it's Charles Manson in this video...
beautiful sound great job man! from argentina! nice video
Thanks for this. You have the JJ sound down really well.
Excellent playing!
One more key ingredient about Jameson's sound he failed to mention is, "The Hook". Jamerson plucked only with his index finger, which gave his sound a consistent, even attack.
He does mention it at 5:17. This technique was brought over from Jamerson's upright bass technique. Back in those days the electric bass was rarely used in popular music and Motown only began using it because it was extremely cheap and easy to record in the studio - one less mic. So there wasn't any standard electric bass technique at the time and Jamerson had to invent his own.
Jamerson played upright bass - mostly in jazz bands - for a long time before switching primarily to electric bass while at Motown. That's probably where he learned to rely on that strong index finger the way he did. If you watch a proficient acoustic bassist, he/she will often use the index finger (usually supported by the middle finger) to play passages not requiring exceptional dexterity or speed. Better intonation and attack that way....
Great review of Motown / Jamerson tricks. I always wondered how come there is no video of JJ playing live or in studio? I only found live audio preformances.
Any info on that?
Berislav Pavišić There is footage of him and Marvin Gaye playing live, search "Whats going on live"
Wow an awesome video! Great tone, it's a real experience to listen to this!
Him And Louis Johnston are my favorites
The legend says that carol Kaye is still trying to play all Jamerson basslines to this day!!
Amazing video all around
amazing! Could you please make one of these videos on paul mccartney?
What did Carol Kaye use?
She used direct 90% of the time. She said she had also used a Fender Super Reverb 4x10 in the room, but she said the engineers liked the direct sound the most.
Fender Precision with stock Flatwound strings (Fender basses were always strung with flats before around 1982-83), pick, mute...
Carol Kaye used a Precision Bass, flatwound strings, a felt pick and primarily relied upon a Versatone Pan-o-Flex built in Sepulveda, California. She owned several and when the Wrecking Crew was in full swing, would leave them in studios where she was called upon to work in regularly. Other than that she may have played through any number of tweed Bassman amps, Fender combos and stacks of different sorts, and or direct.
She has tons of info on her FB page about what she used then and uses now. These days I think she mostly uses Ibanez basses and tapes a foam pad under the strings just in front of the bridge, not stuffed directly under the strings on the bridge plate. Also pretty much all picks all the time.
Taco Taco
Sometimes Precision, sometimes Jazz Basses, and sometimes Danelectros, depending on the song, always with Flatwounds and mostly with a pick.
I really like that D.I.
These videos are great, fantastic playing! I love that classic, vintage Motown bass sound from Jamerson, Kaye, Babbitt, etc.
Great video - love the playing and tone
jamerson played w/ 1 rh finger called "the hook " above the bridge cover and near the end of fingerboard depending
Fantastic keep up the good work.
Well, the funny thing: Jamerson told Dan Forte from Guitar Player Magazine in 1979 that "Bass players call from all over, wanting to know what type of equipment I use, what type of bass, what kind of strings-- things like that. I'll tell them, but that's not what's important; it's the feel. The strings don't make the sound, it's the feel. It's all in here, in the heart."
For all his live gigs, Jamerson only used 15" speakers. For the very large concerts, he used a 2x15.
With the Acme gear lying around I was expecting the Road Runner to appear in the video.
Meep Meep!! 😆👍
Doc Brown: “No wonder your bass sounds like dog crap, this thing is made by ACME.”
Gear tip: raise your action, and use heavy gauge flats. Pluck by the end of the neck ( tasto zone ). Not that I do this, but that's how he played.
Great video I heard Marvin Gaye and The Temps singing over top of your bass playing in my head.
Love that tone!!
thanks this is helpful
Great video, thank you
Just amazing...thank you
I really enjoyed this. I’m a drummer who occasionally plays bass. I also have a couple of isolated Motown tracks and by soloing the bass I was shocked @ how distorted the bass sounds, hideous really. However, when you hear it with the other instruments it sounds brilliant. The bass sound I heard here is great, the playing is wonderful, but it does not sound at all like the isolated tracks I have of Jamerson.
Watch what you hear in those isolated tracks; a lot of them filter out other sounds and bite away at a lot of the upper harmonics on bass tracks. It can cause a weird sound, some of the nuances are clipped, other low harmonics from elsewhere added in.
Very clear low noise thru the di. 👍😎🇨🇦
I'm not even a bass player ,great video . I assume that box can be used for a electric guitar too?
killer bass tone!!!
Can we get this guy back?
Nailed it with the DI
also gotta play w one finger
Not really, Of course that’s what James Jamerson preferred, He would tell you to do what you feel. Do what comes natural
"Doesn't have to be vintage, although... It doesn't hurt"
XD
Excellent, thanks
great job!
Great explanation and demo! Just wondering what was the signal chain for the recording?
Have you heard about the Nordymute? Word is that you can get instant James Jamerson with that mute. Do you think that is a legitimate claim?
Well done and right on the money!
Great video...two questions though: 1) Did Jamerson wedge the foam under the strings or on top and held in place by the bridge cover? And 2) does anyone what is the small silver box that looks like it’s attached to Jamerson’s bass near the bridge? It’s a little smaller than a pedal.
Finally I listen a demo of this device with the perfect amount of crunch and smooth distortion... At what stage is this actually happening? How easy / hard is to drive this Acme unit to get a more crunchier or clean sound? We listen some classic motown records with plenty of more crunch and distortion (even still sounding round and smooth but crunches) I am looking where and how to achieve that
Excellent tone!
Nice job
Are the Labella Jamerson Flats good for Elvis and Beatles songs? Is the ACME Motown DI similar to the original One used in the studio by the late James Jamerson ? Thanks
I just got the Acme D.I.
It uses mostly the same parts as the original and was made in cooperation with its original designer
I hope to make a review video for mine very soon
The NOS transformer is its sine qua non that imparts most of its goodness
Some are made with new transformers made by the same manufacturer from the original (after a year’s worth of negotiations). This all I gathered watching TH-cam videos, and I might have a couple details askew.
I hope that helps
Good work Jerry
Actually the metal cover over the pickups was there for more than just cosmetic appeal. It shields the pickups from electrical noise.
great video !
Though I prefer a brighter tone as I play a lot of slap, my strings are pretty dead, so they'd actually be perfect for the motown type sound
This is a great video.. thanks bro !
Great! Thanks for this!
When is anyone going to do Jamerson’s baseline for Bernadette?
awesome video! :) I love this guy
I never knew Motown (Jamerson) went direct. James Jamerson and Carol Kaye are some of the two most listened to bassists in recorded history. If you watched TV in the 60's and 70's, then you've heard Carol Kaye a million times.
Add Leland Sklar to that list, at least a little later in that period.
If anyone is interested in the 60's flatwound tone, just try some Pyramid Flatwounds, long and short scales available.
My first Alembic came with a set of Pyramid Flatwounds and I've been a fan ever since 1980. I've never found a warmer sounding tone and they feel silky smooth. I like Roto's for their growl and twang but if you want that McCartney tone, try Pyramids.
Amazing! But what is the tone knob set to?! Is it full blast or rolled off?
both knobs open
Only thing missing is a pickup cover and play above the cover with index finger to complete the “ultimate” Jamerson Motown money sound. Close enough though. Good job on demonstration. 👌😁
Mono Bass havent watched the video till the end have you?
Thx for this video .