How to Get The James Jamerson Motown Bass Sound /// Scott's Bass Lessons

[@joepalooka2145]

Nobody had a tone like James Jamerson and he's still the King of Electric Bass Players to this day. Not to mention his amazing rhythmic sense and his harmonic understanding. He could invent bass lines that to this day few have ever come close to. His bass lines were the hook of the songs he played on.

[@silentyouber2816]

He is THE GOAT 🐐

[@chrisgambaro-vega9504]

As a long time Jamerson disciple and someone who's actually spent time with both his son and the author of the SITSOM book, I must correct you a couple of things. Jamerson did NOT use a piece of foam under the bridge. He kept the bridge cover on until the bass was stolen from him with the original piece of foam intact, laying across the top of the strings as designed. Another thing is that the one finger thing is partially a myth. Again, from the mouth of his son, MOST of the stuff was played with one finger. But the ridiculously fast stuff that crosses strings, he DEFINITELY used 2. Stuff like "Bernadette" was 2 fingers, as well as "Home Cookin." The last thing, which is open to opinion is the assumption that you have to have a high action to get his sound. While I agree that your action DOES play a part in the sound, your touch affects the tone even more. Chuck Rainey has a sound that is VERY close to Jamerson's, as did Bob Babbitt, who I also had a chance to speak with. The both of them had a normal action, leaning toward the lower side. Jamerson was an upright player, so he tended to dig in much harder. Hence his action. Although Babbitt did play upright in school, he was primarily an electric player as was Chuck. Hence them having a lower action. As Jaco once said, the sound is in your hands.

[@VideoPrens]

It`s a shame that this comment has no responses whatsoever.That was some really informative stuff man.Thank you.

[@suckitdipwad250]

To expand your comments a little: The foam under the bridge cover was useless, as it wasn't really quite foam and never really quite touched the strings. Jamerson's thumpy tone came from flats that were never changed or cleaned (he never cleaned his bass, either; "The dirt keeps the funk," he said), and his hands, of course. The action on his '62 P was high because he never had the instrument's truss rod adjusted. High action + dead flats = Motown thump, though others had this sound, explained below. Also, watch how he controls the strings with his right hand technique, especially his thumb (kzbin.info/www/bejne/pqHZc4p_r9uDrLc). Jamerson, Babbitt, Kaye, and Dunn were all players who faithfully *never* changed their strings, and all had that fundamental, thumpy tone, and all played Fender Precision Basses, and Carol with a pick, at that. So, Scotty, to get the right sound for any of this Motown stuff, you need to start with the proper right hand position, and here’s how to get it: Put the chrome pickup cover on there and play between that and the neck, with a pick (held flat), or your fingers. That's the sweet spot for that big, fat, cuts through everything P-Bass tone. Jamerson, Babbitt, and Kaye all played right in that area. Of course, you’ll need to have a set of very well worn (dead) flats on there, too. In very short, all you need do is: Play between pickup and neck; play a USA made P-Bass; play on well worn (dead) flats. Voilà, Motown sound. Now, for those wondering about amps…Kaye mostly used a Fender Ten on sessions, while Jamerson plugged right into the board. He used either an Ampeg B-15 or a Kustom 200w, 2x15 rig on live dates, depending on the venue. Babbitt used a B-15. Now, for those wondering about pick or fingers; listen to Carol Kaye on those mo west dates, and Jamerson on the Detroit dates, and tell me it matters at all :-)

[@TheDustbowlblues]

Dont put the truth in the way of a good story bra

[@suckitdipwad250]

@Powdered Soap - Why similar? If you're going to bother with a video like this, *nail it.*

[@1mespud]

Good comment. Jamerson was applying his upright skills over to electric. Once again, to each his own. I feel the lower the action the better. You don't want to run across the street to hit the next note and back. Let's include the Jamerson ingredients: Flatwound strings, sponge mute under bridge plate, because he wasn't much of a treble user (as we can hear), tone knob on 0 or off (the same as for his amps: Ampeg B15, Kustom 200 black tuck n roll), hand positioned between neck end and pickup cover. This is your Jamerson launching point..

[@Adake9]

nice breathing scott

[@devinebass]

I know, lol... we went to re-edit the audio and we'd accidentally deleted the audio so couldn't do it... DOHHHH, lol... ;)

[@Adake9]

Scott's Bass Lessons haha no worries just having a laugh, video was super good otherwise learnt heaps

[@dylc413]

Scott's Bass Lessons haha, i do the same thing while playing, my breathing gets heavier and louder too, no clue why :P

[@HoosierRobert]

I not only breathe rhythmically but tend to hum also. Weird i know but hasn't hindered my playing either.

[@robburns522]

It sounds horribly obvious but, being of an age, I think most of this stuff is, well, stupid.

[@redcomn]

The breathing sound is one of the elements of great jamerson sounds

[@ni9aszeven347]

Another great video Scott.... One of the other key things you left out about Jamerson's "sound" was that he NEVER changed his strings unless they broke. His famous quote was "The gunk keeps the funk".

[@wmhhealth2018]

Ni9a Szeven absolutely right.

[@telsutton]

Yeah, he'd just buy a new bass with a new set on.

[@sidneybarrett8185]

I read once that Chet Atkins hated new bass strings so much that he would rub barbeque sauce into them to get that dead "thunk" sound.

[@jazzyblues2576]

That's good to know. I haven't changed my strings in 8 years.

[@andyledger2307]

@@jazzyblues2576 I haven't changed mine in 32 years - it's actually the set that came with the bass when I bought it in 1988!

[@keifmullismusic2764]

I could listen to Scott jamming ALL DAY. He is without doubt one of the most talented musicians on the face of this earth. He can play so many genres on 4, 5 and 6 string basses and always using the technique of the bass player in question. To top it all off he’s incredibly down to earth 🤘🤘🤘

[@deanroddey2881]

This is an old video, and someone may have already mentioned this, but just for future posterity... the reason is sounds different when you pluck near the neck vs near the bridge is overtones. A string plucked exactly at its center point will effectively rock up and down in a smooth arc around that center point. So it's almost all just the fundamental note. Of course when really playing you are never that accurate, but you get much more of the fundamental and secondary overtone (the string is also divided into to parts that are vibrating, for a note an octave up.) If you pick very carefully right at the center point between the bridge and the note you are playing (where you would if doing finger harmonics) you will get a very clear fundamental note that will sit back in the mix and just sound really low. As you move further from the center point, you start making the string vibrate in more and more complex ways, so you have all kinds of overtones starting to show up in the notes. Way back towards the bridge (Pastorius style) and you have the most, and you get quite a bright sound. It's not because the notes are different, it's because the ratio of fundamental tone to overtones has changed and there are way more overtones now. That makes it cut more, but of course also makes it take up a lot more space in the mix. It's not unlike what distortion does, which is to introduce lots of overtones because of clipping of the wave form.) A good player can sort of 'mix himself' in a lot of ways by controlling where he plucks, and you see really good bassists and guitarists do that. They don't just keep their palm on the bridge and strum over the pickup and whatnot. In a part with heavy guitars where you want to drop back, move more to the fundamental note. In a part that is more sparse where you want to be more present, move closer to the bridge. The violence with which you pick obviously also plays a part. Geddy Lee, for example, often plays up near the pickup, but he often plays so hard he still is generating lots of overtones because he's banging the string into the fretboard, which also gives him a nice grindy tone as well, though he does very much change his plucking position and playing force all the time to mix himself.

[@Checkofoto]

One of my favorite Scott's Bass Lessons. Scott was having a blast!

[@801walt]

Finding open strings I consider a law of conservation of energy. Jamerson taught me that early..Cheers!

[@samuelbrooks7854]

i in joy looking it your video thank you scott i hope you going to make more video

[@basswars7060]

Thank you very much for this focus on James Jamerson. He is one of the greatest artists of the 20th Century. His work rivals anything done by any artist in art, literature and music. James is my man, and the most important musician ever.

[@laurieharper1526]

This is excellent. Thanks. Another value of incorporating open strings into patterns is that they make position shifts easier.

[@cabbycabby1770]

Really gives the bass a percussive sound. Love it. Anyone interested in a player who really cops an old school feel should check out Bruno Mars bassist Jamareo Artis.

[@tombradford7035]

What a natural teacher.

[@wizardmix]

I spent years on and off perfecting the palm mute and thumb technique in place of the foam. What I like about using my palm mute is the ability to modulate the amount of mute, it's a feeling of much more control. As well I like being able to quickly go back and forth between different playing styles where having foam in there limits your sound. The downside of course is getting that thumb to move as quickly as an index finger, this is what takes time to build up, especially on those frequent 16th note runs.

[@nickspurdo5503]

Evan J That's curious. I've messed around with it but couldn't stick to it because it was very very difficult to get a consistent tone for me

[@ZRJZZZZZ]

You are a very generous and positive soul in addition to being a wonderful musician and advocate of the instrument. Thank you.

[@JohnSmith-cl2sq]

Scott - you are AMAZING! Ireland loves you. Keep up the good funk

[@michaeldurrant8446]

Dude - just watching this video improved my playing.

[@BazzTriton]

Michael Durrant yes. I believe

[@gbvoul]

Playing opens is always how i've played. probably comes from originally learning on an upright in school, playing in orchestras and jazz bands, which James Jamerson did as well.

[@cymbo1]

It’s always a pleasure to watch your videos! I really appreciate watching your hand form. It drives me crazy watching players on KZbin showing how to play entire songs with their index finger up and down the neck. I started playing 45 yrs ago on double bass. Hand position and form is everything when learning. Thank you !

[@marian9445]

I use open strings to help while transitioning my fretting hand up and down the neck, not sure if it's conventional but it seems to help. Feels smoother that way than very quickly moving the hand to the new position.

[@burtcocain1986]

Right, this is gonna be buried but there you go. I've always tried to have my action as low as possible like Scott says here around 3:45. I've just bought my first P bass (I've played for 20 years, I've just always had cheap and cheerful basses). I've bought a good truss wrench so I don't break it and I've set the tension. I put the strings as low as I could at the bridge and I got that 80's zingy tone, which I like but I'm not really after from a P. I want the proper P bass round tone. So I've raised them up just a half turn on each of the bridge screws. Oh my GOD! Just right! No fret buzz at all, not a lot of effort to press but just a little less of that metallic sound. Absolute magic. Cheers Scott!

[@gavinvonmeyer3746]

You most got that sound and more. Your sound is 1000% the perfect bass sound.

[@ЮлияПанова-ш5т]

Great video, Scott. The only thing I would note is that you place the foam with abrasive (darker) side down. This leads to scratches on the cover. The effect is slight, but visible. I don't care about that, but some people would, I suppose. Thank you for your videos, love what you're doing.

[@randallgrant6175]

Thank you Scott, every time I tune in, I'm learning something from you

[@jodi183]

I noticed Carol Kaye used to put what looks like masking tape across the strings down by the bridge to mute the strings. She also uses flatwounds and a pick, which creates her signature sound.

[@averyetvspecial1487]

The tape is holding foam on, she has talked about having it on top of the strings instead of wedged under them.

[@ettchicago]

Yep masking tape over a piece of felt laid on top of the bridge/strings.

[@stevedixon9409]

This tamla style Scott is playing is the best bass you could possibly hear,it is very difficult to play ,I love it 😀

[@warrenbass7350]

I can't understand why anyone would give a thumbs down to this video,...

[@slimyelow]

"You get a different tone with 2 fingers", is what she said.

[@endikoa7928]

Underrated 😂

[@GingerDrums]

boom boom XD

[@minceraftfornite4334]

I don’t get it

[@foljs5858]

@@minceraftfornite4334 you get a different moan from the woman when you use two fingers instead of just one inside her genitals (to put it innocently enough for KZbin to keep the comment)

[@basilpunsalan5901]

Scott. You crushed it in this video. So impressive.

[@duncanmathers76]

Really interesting and useful to learn about the open strings. You've just given me a lot to think about, Scott!

[@Phicxtion]

Wow I learn something new everyday. I thought I was a weirdo doing the open string thing and I sometimes play with one finger as well. Lol its crazy how someone as legendary as James played that way also.

[@nandoblondemobydick5438]

the most important IMO is the notes and groove James play over chords, appart all the usefull secret you reveal which no doubt give the tone or timbre, the James´s phrasing which is technically pretty basic Root, 5th, 4th, arpegios... and now comes the real secret sauce, the extra God given passing notes, which ones to me make him unique, this are fundamentals adds on to the james´s sound, in one word he is James :-) but thanks usefull video

[@paulevans4334]

Older strings help get that sound too. I've got a set on one of my basses that's around ten years old which I use only for playing Motown stuff.

[@smoothbeak]

Wow, that open string thing is very cool and I can personally hear a difference, and it does sound a lot like Jamerson too

[@NealCarriere]

Really interesting Scott, and you other commenters... My idea about Jamerson and open string use follows. ...playing fretless, and double bass makes pitch a constant ear-hand correction thing, (for me anyhow--all you other cats with perfect pitch, and perfectly trained and maintained muscle memory are my envy). When I'm confident, (in my muscle memory) I'll brave a phrase entirely fretted, (because the fretting finger, in my opinion really allows me to control my tone--the open string has an "out-of finger-tip-ability-(extreme)-crisp" characteristic that is sometimes desirable, but when used, to my ear sounds sterile--too crisp in its attack, [less warm]. When I am humble or insecure I will play every open string I can to give me cues for precision in pitch for my "fretted", (or fingered as there are no frets) notes, (allowing my hand to shift to compensate because I heard the open string as a "base line/guide". Basically, when I phrase something: "all fretted" sounds fluid, controlled, warm, pretty, sweet, and fluid. When open strings come into the phrase there is a feeling of crispness, accuracy, precision, articulation in terms of tone, and an extreme punch-precision in terms of the timing of the attack of the note. Sometimes, one could argue that the open strings add a certain "something". I think Jamerson liked the open string tone better, (but who knows). I do not mean to say what Jamerson thought, but it seems reasonable to me to think he might have used the open strings to lend emphasis for notes, (crispness of attack). But it might also have been the case that it was done out of habit, or beautifully efficient technique, (one could argue that fretting a note is more work than playing it open). It might be appropriate here to also note that it is also sometimes the case that open string notes are great segues to change hand position, whilst ensuring time/feel/fluidity of the phrase is unaffected. The really interesting thing to me is all you folks sharing your insights--different perspectives allow us greater mastery, as our neurological networks become more linked. Hope this helps someone, blessings.

[@TheWayoutsChicago]

You mentioned how open strings can allow for easier position changes - according to what I've read about Jamerson, I think this was most of the reason he did it. Throwing in a few open strings is a trick a lot of upright players use to help get around the neck faster, and Jamerson never really stopped being an upright player in approach/technique, so I think it's probably as simple as that.

[@ElChadinotunes]

P-bass, Ampeg, foam combo is sweetness to my ears!

[@billmint8122]

Are you a drummer as well? Your push/pull technique for the one-handed hi-hat 16ths looks great!

[@honenterprisebass2503]

William Jeffrey

[@msallehuddinsoeb]

William Jeffrey bassist always need to understand drummer even most of them cant play it...

[@MotifBeatz]

William Jeffrey Yeah, I caught that, too!! Great form! Hahaha!

[@4laso4]

I wondered the same thing

[@phatbassanchor]

Another way I've found to emulate Jamerson's muted tone is to gently rest the side of my right palm on the strings and pick with my thumb. Although I'll never sound exactly like Jamerson with my Jazz Bass he has certainly influenced my style. I've pulled from many greats to create my sound... Jamerson, Jaco, John Paul Jones, Jack Bruce, Ron Carter, Charles Meeks, Pino Paladino, Lee Sklar, John Taylor.... just to name a few. Jamerson will always be king of soul bass to me.

[@livemusicalgarve]

What is there not to like about this video? Free lessons to be learnt, from a very talented tutor. Just dont get it👎. Thanks Scott👍

[@joesmith-wc5qh]

So Scott I've been wanting to msg you to say thank you for getting me started on the right finger. I'm new to the 6string bass but I've played guitar all my life so the bass is coming very quickly but it's been with your direction. There's alot of great stuff on you tube but yours in one of the best I've seen. Honestly it's answered almost all of the questions I was wondering as a new player in very easy to understand and apply. So I'm a big jazz fan and Jaco ,Jamerson and De Mingus are the tone and chops that most apeal to me. Now I've tried the sponge and it sounds too easy, I find it's hard not to choke the C too much. One of the things I learned from you right away was too practice my natural hand dampening, so I threw away the sponge but I'm fully committed to the chicken wing and pamling could be described as an art too master. I will how ever get flatwounds and remember what Jaco said it's all in your hands. Thank you for this amazing channel, it's really got me off to a great start and constantly challenges me. Your 100% right the tone is completely different with plucking vs the one finger, as a guitar player at first it felt natural but I didn't want to limit my technique but you nailed it in this post. I'm keeping the middle finger as a back up. I doubt you even have time to look at this shit but at the end of the day, thank you so much..

[@Chyle69]

Very good! Thank you Scott for revealing so many important details! Something I always did was to pluck the string where it is being received intuitively. So I always pluck above the pickup that has been selected. If I play on a Jazz Bass with both Pickups open, I tend to play in the middle of both. James Jamerson seemed to play closer to the Neck. Thank you for this awesome vid! Best M

[@RFToob]

Scott your videos are great. I am learning so much. Thank you.

[@NetoMoreno-1107]

The first time I tried flatwounds I was very disappointed cause I didn't heart too much difference but now 1 month later I'm in love with my tone, maybe I will never change them haha.

[@drawntothefire]

Scott, are you a secret drummer? I used to (before bass) and your hand movement when you imitated the 16th hihat notes with one hand was very much how a trained drummer would do it. I think it's awesome to play both drums and bass, they are so related to each other. Another great video by the way!

[@devinebass]

Kind of... I'm a secret 'bad' drummer... as in, I have a kit at home that I like to play but I don't really gig with it.

[@drawntothefire]

Scott's Bass Lessons I think I must be a secret bad bassist then!

[@devinebass]

Lol ;)

[@nathanbasurto8246]

Biggest tip: use open strings whenever you can.

[@badboy46528]

learned that lesson from simon gallup of the cure , he's doing as little moves as possible and has great sound

[@fudgesauce]

Scott discusses it at 7:55

[@RSTI191]

You're telling me an open A will produce a fatter tone than a fretted A, E 5th fret? hahaha

[@bobbiemiles-foremaniii8747]

This is why the mutes are really necessary for this style. Without mutes I avoid open strings

[@RSTI191]

@Niggatron2004 Congrats to him. An open A string will never sound as full as a fretted 5th on an E. It's impossible. Never gonna happen. A string gauge is thinner. Same goes with an open D string on the fretted A string 5th fret.

[@ushnicyuvnikof2748]

A P Bass and a Tone Hammer DI with AGS engaged and drive low will cop you close to the amp sound (roll of the trebble slightly with the P bas toke knob or on the TH)

[@hypnosiscenternyc]

Great video ... I just watched AGAIN .. Standing In the Shadows of Motown about the Funk Brothers and James Jamerson ... Thank you for your taking the time to teach his technique.

[@gabinojesusamarfil4187]

Lol, i also use a sponge for washing dishes. Now i have an infection in the middle finger, so time to practice playing with one finger. Good video as always

[@devinebass]

Lol, great time to get your Jameson vibes going on ;)

[@irragrams]

Scott, your lessons are awesome. You also look like the skinny brother of Tyson Fury.

[@staypress]

Hi Scott I get a similar tone on My Ricky 4001 using flats on a neck pu with the bass tone knob slightly off the bottom.

[@Cysubtor_8vb]

Huh, as a tuba player who is learning bass, I use open strings all the time. I also anchor my thumb on the p-bass pickup (the actual bass is a P-J style Yamaha) as I pick with one finger, but I do intend to eventually start using more.

[@Funkybassplayer]

Hello Scott, massive fan of your channel 🙏🏻👏🏻 I’m a fender P bass player ( beginner ) and just ordered the string covers ( both ) and already put on flat wounds and I’m seriously thinking about implementing your and Jameson technique of picking to my playing. Two fingers I reckon. One is just to hard. I think I have to go back to the beginning of my instruction book, I don’t mind. I just have to think about the sponge thing. It sound mellow enough all ready. LOVE THAT MOTOWN SOUND. Your a kick ass bass player. 👏🏻🙏🏻✌🏻

[@Hugh9191]

One thing that often doesn't get mentioned is that going direct into the desk at Motown is very different to going into an interface or modern desk and the processing gets forgotten. There is often some tube overdrive which kicks in when he digs in, this may have been added by overdriving the desk preamps. Also I would say sometimes some light compression, much more subtle though. I think he usually played with his tone and volume on his P bass all the way up too.

[@royewins1288]

James Jamerson actually never changed his strings, they were basicly knackered strings and everyone who played with him new that. Somebody did buy him new ones but they were found still in their packet in one of his drawers after he died.

[@Snandra66]

The funk is in the gunk ;)

[@sleepingturtle8888]

Hey Scott, great video. I will say that James Jamerson only used 15" speakers live. In fact, he had a 2x15 bass cabinet for larger gigs.

[@nostaticatall]

LOL! "I could do that all day." No wonder. Sounds awesome!

[@millenniumtree]

@ 14:35 OMG I've tried to play that! I had no idea how he did it! Thanks!

[@harlont]

Great video. Jamerson was a bass beast!!

[@mistergeorgie]

What a great presentation style!!!!!!

[@andreisidro6544]

Ok the breathing is pretty funny but it got me noticing that you exhale every time you play a faster lick and inhale every time the lick slows down and the notes are just sustaining. In short, it almost kinda seems like you're trying to breath in rhythm with your playing which is kinda neat and I'm guessing (whether you realize it or not) it helps you stay in the pocket. So yea! As weird as it sounds, I'm probably going to start to pay more attention to my breathing when I'm playing! Thanks Scott!

[@gergokovacs3332]

I'm joining some opinions here: sound is coming from your hands. Once I visited a trumpeter friend, (myself a pianist), jumped to his old vienna action piano, absolutely detuned, some keys stuck. He was wondering, how good it sounds. Just want to say the most important (and hard) thing is apart from practice, is learn to listen to your sound. This is hard, because naturally you tend to hear, what you imagine...

[@vincetividad]

You didn't go into the most important part of his playing where he put it on the beat! I listened to the isolated Jamerson track right after this and your bass sounds good it does not quite have the funk of the Jamerson sound.. Great video for those who are starting out working on this.

[@coutureeurope891]

Great class full of content and details about James Jamerson style.

[@jameskirk2417]

Quite an informative video. As an upright player you learn early on the open strings are you're friends however owning a "P"and playing it on a regular basis they don't sound the same as an open string on an upright. I will take counsel from this video and do some more experimentation. Keep up the good work!

[@GeorgiaBoy1961]

Being advanced at any skill is knowing when the rules should be broken or bent, and how to do so in a musical way.If anyone could do it tastefully and artistically, Jamerson could.

[@stupendousmusic4190]

Great video Scott, but being that I possess the largest vintage string collection in the world, and a huge fan of flat-wound strings, I cannot stress enough the importance of LaBella flat-wounds on not just bass, but guitar as well. The Motown sound was in large part due to the fact that Jamerson, Babbit, Robert White, Joe Messina, and Eddie Willis all used LaBella flat-wound strings. Marv Tarplan and Cornelius Grant probably used LaBellas as well, but I can't confirm this. I think I once read that Melvin "Wah Wah Watson" Ragin used LaBella flats too. I know Dennis Coffey used/uses huge heavy strings, but I don't know which ones. While you can get a good sound with any quality flat-wound string, there is just no way in hell to get the Motown sound without LaBellas. I'm open to discuss this with anyone who wants to.

[@Harryjohnson689]

I can ask Cornelius Grant I know him personally. And I can also ask jack Ashford also.

[@stupendousmusic4190]

@@Harryjohnson689 Wow, cool! I would love to talk to them if it is at all possible. 🙏🏻

[@Harryjohnson689]

@@stupendousmusic4190 Cornelius has a Facebook

[@stupendousmusic4190]

@@Harryjohnson689 Cool. thank you!

[@JimmyFrank8455]

awesome Scott

[@benhicksbass]

I actually recently started getting a perfect Motown tone but it wasn't with the setup you'd think. I actually use an ESP brand LTD AP 204 P bass with PJ pickups. I swapped the pickups out for Delano pickups and use the Labella Gold Flatwounds, as well as using a Mr Clean Magic eraser that I stock between the bridge and J pickup. I'd assume you could accomplish the same thing with any modern day Fender P bass, but these Delano pickups sound extremely vintage

[@berkleyadams9020]

I picked up the bass 3 years ago and I've been playing with a hook, ever since. My teacher tried to get me to use multiple fingers to pluck the strings, but the most I could do was use two finger as a bigger hook. My bass playing has been improving but I fear that my over reliance on the hook could be detrimental to my playing. Should I continue playing the bass the same way, or should I try seperating my fingers?

[@phatbassanchor]

I was amazed to discover that Steve Harris of Iron Maiden uses flats.

[@WalterMusic]

Very informative! Thanks a lot!

[@stupendousmusic4190]

Scott: Thank you for another excellent video! As a producer, I agree with you: recording with flat-wounds will definitely get the bass (and even guitar) to sit better in a mix. That being said, LaBellas are imperative to obtaining the Motown sound, for bass AND guitar. Most American soul bass players used LaBellas in the '60s. (I'm sure you know this.) FYI: I have the largest vintage string collection/stash in the world.

[@SiDadiBong]

hmm thats why that red fender different tension sound on the overwater bass, thanks scott cheers

[@jollyroger1009]

Thanks, Scott 😊

[@mdp303]

The thing I notice is the dynamics of the Jameson lines, he doesn’t just dig in. He varies his accents and this is accentuated with a bit of dynamic distortion through the DI I presume? After all of it though it’s just great musicality and technique not sure having the right gear is really going to do it. I play a lot of these lines on a J bass because I never much liked a P bass. They sound different but they are still great lines. I wonder if Jameson would have used the same set up today?

[@jth23271]

Thank you Scott!!!

[@bassplayer9432]

Thanks for the video... Jamerson was the real deal!

[@bassatnight]

Another excellent highly informative video. Thanks Scott.

[@erictripton]

Getting ready to get a bass for my home recordings, I always felt the Precision was the dominant bass sound. The jazz seams too bright, subjectively. Whenever I played bass to fill in for someone, I was always tweaking to get what this bass achieves. Great video man!! This proves my ear is pointing me in the right direction. Some guys tell me the jazz is to get the funk sound..... now that I researched, its the Precision that gives that classic sound. Looking forward to tracking using these tips, Scott. Cheers M8

[@stupendousmusic4190]

Some FYI: A lot of people don't know this, but supposedly the Jazz Bass was meant to target the Rickenbacker 4001 and 4003 users. Anyone have another take on this? 🤔

[@stupendousmusic4190]

@Punch Down King Let's agree to dis- agree here. I would have to take the opposing view, that despite only having one pickup, the Precision Bass is way more versatile and more of a "Swiss Army Knife" whether using flat-wounds or round-wounds. Thinking you well get a Precision Bass sound on a Jazz Bass by simply using the neck pickup, ain't gonna happen. Listen to any recording with Joe Osborn: Jazz bass, neck pickup, and LaBella flat-wounds, and you can hear that it doesn't sound anything like a Precision Bass; some if his recordings could almost be mistaken for a Rickenbacker sometimes. I'm willing to DISCUSS.

[@danielnolan4207]

Jamerson ain't need no silly glove. LOL! Good analyisis Scott. Jamerson's action wasn't high, considering he came from playing upright, where you can drive a Freightliner under the strings.

[@BrandochGarage]

Dude, you rock!

[@phatbassanchor]

I had to develop my own left and right hand muting techniques just to attempt to emulate Jamerson. I've always preferred Jazz Bass style basses. The only bass I ever owned that was even close to sounding like Jamerson without using special muting and amp settings was my old 1966 Gibson EB-2. It had a single Dimarzio humbucker and came equipped with an adjustable foam mute. Otherwise, I have to keep my right hand just below the neck and employ my custom muting.

[@markh12891]

I'd uv been interested to hear what it sounded like without the foam to see how much that contributed to the sound.

[@phatbassanchor]

Jamerson's bass was set up more like an upright than an electric.

[@benaustin6361]

And he did it all with just one finger!

[@eric3532]

Dude You’re opening riff on F on I was made love her is killing me. Please listen to the original

[@BruceColon-BSides]

Really great vid. Even before fully getting into Jamerson’s playing, I arrived at many of these same techniques (one finger playing closer to the neck on a flatwound strung bass) in my own quest for perfect bass tone. Jamerson was obviously after the same ideal tone (warm, focused, upright-style). While roundwounds do stand out more in a band/live setting, I love that 60s Jamerson/Kaye/McCartney flatwound sound.

[@jameslane2402]

Nice touch using the hook.

[@BarbieChaite]

7:18 yes

[@billyharding2874]

Yea Scott u da. MANG

[@gav-box-bass]

good, informative video as ever. cheers. keep up the good work

[@james5353]

Great vid, high action was something i'd not considered

[@alessandromina2615]

You play like a God

[@Dazzer1234567]

Great analogy with the drummer's 16th note hihats......it's pretty much impossible for a drummer to produce the exact same 16th note feel playing with one or two sticks ..... I think the one finger technique gives more consistent, percussive sound ....because the finger is travelling faster when it hits the string...(with two fingers, they don't need to move as fast because the second finger is already in place to play the note)... also, because every string and note is struck at the exact same place on the strings, the tone is slightly more consistent. Which makes sense because when using two fingers, that place is constantly changing by a couple of centimeters......

[@gavinvonmeyer3746]

May I ask, what pick up is that though?

[@ramsoncole4605]

does that change the intonation?

[@conorohconnor]

Anyone know what year this P is? Mine has the same 70’s style logo with the big font and patent numbers. Can’t figure out what year it is. Great Video as always man.

[@israel7788]

I think this is the Nate Mendel signature bass

[@elancaster808]

LaBella 'Deep Talking' Flats! Great video, mate 👍✌️️❤️🎸

[@devinebass]

Great strings man... PHUNK! ;)

[@bustabass9025]

E Lancaster Got 'em on my P as well. Don't sound like Jamerson though. Sounds more like my cousin Jimmy 😕👑🎸🎵

[@kmelvcm]

Why are you wearing a glove on your left hand? Is it to reduce the friction for sliding over frets?

[@paulsummerside]

Would be interested about the DI option of possible alternatives to the ACME one that could be more acceptable and possible settings on those alternatives to give that Motown sound I personally would be interested in the bass playing of the likes of Duck Dunn and the STAX sound.