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Bass that puts sugar in my coffee!


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I listened to Bob Marley a lot and all I can say is that the"bass" is the best.

It's like putting sugar in my coffee. The bass is just so damn sweet!

 

How did they get the bass to sound like that? I mean the bass has a heavy presence but regardless of how much presence and body, the bass never come across as overwhelming.

 

What are your thoughts or musical taste on this.?

 

AI

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A lot will depend on which mix/mastering you listen to, also, of course. Some of the early releases don't have nearly the bass presence. But by the mid-70s, they'd nailed the sound pretty good... I remember listening to Burnin' at a buddy's house the first time and thinking... wow... this is bass.

 

For me it was the combination of the bass and that incredibly funky clav, along with Al Anderson's wah wah guitar... what a sound.

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I'm assuming a Precision strung with either flats, grounds or well broken in rounds. The single passive pickup in the sweet spot has a lot to do with it.

Most of what your hearing, to be honest, is the players touch ...his fingers on the strings, and how he's making you feel the bass line. :thu:

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All I can say is WOW! The bass is like drinking sweet wine.

I tried not to listen to the newer disc versions. And stay with the first discs transfer versions. I want to stay with the original as possible.

 

But the bass, OMG. It's unbelievable!

 

AI

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This thread got me on a Wailers groove... first I listened to Burnin' and then I listened to a big slice of the Roxy album (which I was lucky enough to be there, for).

 

One thing that's really clear about these tracks is how much room they make for the bass -- there's stuff goin' on up top but it's often either in small rhythmic jabs (the scratch rhythm guitar and clav, the interjections of the I-Threes) or occasionally little snaky melodic streams (Anderon's slithery leads)... and then, of course, by that period, smack in the middle of everything is Marley's distinctive tenor.

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I'm assuming a Precision strung with either flats, grounds or well broken in rounds. The single passive pickup in the sweet spot has a lot to do with it.

Most of what your hearing, to be honest, is the players
touch
...his fingers on the strings, and how he's making you
feel
the bass line.
:thu:

 

 

Everything you said above is spot on. That's Family Man on those I think. He played toward the neck as opposed to back by the bridge. It's funny, whenever I've tracked with sparse parts where I finger up on the neck like that people ask what gear I used to get that sound...

 

The bass on those records is awesome.

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