@@awubutfilmsab - Gosh, is that your professional diagnosis? Oh...wait...are you one of them internet goblins or gnomes or whatever they call them fellers that like to say stuff that gets folks all riled up?
I miked a drum set like that, and when I was mixing, a drummer friend happened to stop by, and he had George Harrison with him. No lie. As they listened, the reactions were palpable. George loved the sound (it was on a drum kit) but I had no idea at that time that Geoff Emerick used a similar routine. On bass. Thank you for a very refreshing look at recording history!
Man. I was straight up lost in that song along with that bass groove. So good. Then all of a sudden, the volume dropped, you started talking again, and I realized my trip had come to an end.
I actually think Paul is one of the best bassists of all time. He's such a mammoth talent in every way, people sometimes forget to mention just how good a bassist his is.
Just in general one of the greatest musical talents who has ever graced the planet. Really tough to describe his, or the Beatles’ in general, impact, other than go to the most remote place on our planet.. tribal places where modern society had not really happened yet, and the people these WILL KNOW Beatles music and WILL want you to sing along with them.
James Jamerson , Carl Kaye and Geddy Lee are considered the best. John Entwhitsle of the Who was the first to bring the Rock bass out as a lead instrument.
It's all subjective. Quincy Jones thought Paul was a terrible bass player. But the final product asnd it's success are the final word. i had some Japanese basses from the 60's that had a foam arm mute that you could engage. Sounded alot like that, of course the pickups and general quality of the bass were terrible but someone at Teisco picked up on the fact that the muted sound was a "Feature". In my studio i'll sometimes mic the bass amp. I have a couple of the Fender White bassmans. If the guiutar players aren't using them the bass players will. I get more of them but Brian Setzer buys them all up. They're wonderful. Just a straight ahead amp. A bit under powered for bass but if the band isn't loud they're fine. Listen to James Jamerson. He had that sound to, never changed his strings unless they broke, played thru an Ampeg 30 watt fliptop. Played on 80% of the hits of the 60's.
Completely opinion, but Paul was a MUSICIAN and well-studied. Reason he could play so many instruments well. His attack of the bass was completely different to a traditional "bassist", which is what made his bass playing great, and the Beatles sound unique. Similar with Keith Moon of the drums in their completely different approach to their instrument. In terms of skillset on the bass? Not really "best" in my humble opinion, but a fantastic and wonderful bassist all the same.
Away from me try to diminish a great player (I’ve been working hard to be better at guitar), but Paul is such an amazing artist and songwriter, that his bass playing tends to be always seem as a tool to a greater talent, which is his music.
have to agree... was too young to realize how good Paul was when I was a boy in '64, but by the time I was 15, WHAM, I heard things like "LET ME ROLL IT/HEART LIKE A WHEEL" and could not avoid hearing THAT BASS. From then on all I heard was Paul's bass. Keep in mind that I really disliked "WINGS."
Not bad for a guitar player! Lol. I also find Paul's lines really interesting. Tracks like Rain are among my favorite bass tracks.... I also thought John Paul Jones played some really great lines. My two favorite mainstream bassists.
Love this. I always loved the way the bass sounds on Beatles records. I't's interesting to hear how it was created. Love seeing your studio. I'm not a musician but it looks like it would be a place musicians would like to work in.
Listen to Magical Mystery Tour with a good sound system. Some of Pauls' best bass work, in my opinion. The title track, Your Mother Should Know, Penny Lane, Baby You're A Rich Man, All You Need Is Love. Great tone on that record!
One of Jimmy Page's favorite sayings about studio mic technique is "distance creates depth." He was also fond of keeping mics at a good distance from an amp or drums to capture some ambience and a sense of roominess.
My favourite bass part of any Beatles song are the two notes either side of the first verse (i.e. notes 4 and 5 in the entire song) in "roll uuuuup" on Magical Mystery Tour. You listen and each note is accompanied by a very subtle click and echo which I absolutely love and can't get enough! I don't know why but it's something that's totally intrigued me since I was 15.
That Boulevard Studio has a Beautiful Room. I work out of the biggest room in Central California (Maximus Media - Fresno) and I love Big Rooms. Harkens back to the Golden Era of Recording - The Romance of it all. Thank you for the video. It's fun and informative.
Sitting back, thoroughly enchanted and intrigued by your marvelous knowledge and performances. Great stuff, Clay. "Palm muting," of course. Reminds me of listening to "SPLHCB" for the first time back in 1967 to sounds unlike any 'ear candy' we had ever heard before. Amazing! THANK YOU!
McCartney is a fabulous bass player for several reasons. First are his wonderfully inventive bass lines, which are rhythmically and harmonically outstanding. Second is something very difficult that only the best bass players like Paul can do: not only invent great bass lines, but then sing lead vocals or harmonies while playing them. Third are his combined skills on bass, guitar, and piano, all of which he plays at a virtuoso level and are integrated together in anything he does. Fourth ---- he's a total musical genius!
@@G8GT364CI In several interviews, Paul has said he was greatly influenced by Jamerson, although back in the early 60's he didn't know his name as Motown didn't credit individual musicians on their records. It was only when Marvin Gaye recorded What's Going On that James Jamerson got a credit on the record.
I find Pauls playing style very unique compared to how I learned to play bass, so it's always strange to hear his bass parts isolated, but he blends so well with the rest of the band.
His bass playing is something I always thought of how his lines just walk amongst the track and really bring a lot to it compared to what you may be hearing if not paying attention to his bass
He plays bass the "wrong" way by using his thumb and index finger pretty much as a fat pick and doing a lot of palm-muting. I think this is because he taught himself to play. I play bass exactly the same way because I also taught myself, so this may be a common way self-taught bassists play. I have tried playing the "right" way (finger method) and I simply don't like it nor do I get that thumping sound I love so much. I say "wrong" and "right" because there is NO wrong or right way to play bass, but some gatekeepers and elitist jerks will tell you otherwise. In fact, in the 60s it was common to play bass with a pick (which I occasionally do) before the finger and slap methods were commonly adopted.
@@James-eg3nf I didn’t mean so much his technique, or playing style, since that muted picking was common, though being left handed probably did have some impact on his unique sound. I mean that his rhythms were either unorthodox or straight quarter notes. Rhythmically kind of boring but melodically in outer space. His bass lines are so pleasing and intuitive but interesting at the same time. That’s what I meant by the isolated bass tracks sound weird, because I’d be playing something different, but with the whole band Paul’s bass clicks in like part of a jigsaw puzzle and the picture is completed.
@@James-eg3nf I'm pretty sure some players have been using their thumb like a paddle, along with palm muting, as a way to get that round, thumpy sound ever since the electric bass was invented. I'm self taught and do the same thing so you might be on to something though. I don't like much high end on bass either. I like bass to sound...bassy. Good tone comes from your hands, not eq knobs.
@@James-eg3nf Well, I learned to play "fingers-style" on a mid-60's Hofner 500s/1,, Violin bass like Pauls, only "righty"..Then I learned to play with a pick, as needed, for the sound..BTW, the Hofner is trashed. .needs extensive restoration work..May not be worth it, tho it is vintage..
Great Vid, I used to have a 64 Showman Head 85 watts of tube bliss! Your vids are spot on, great research , the right equiptment, and good ears... John G. from Bklyn, N.Y.
Most awesome, man...great example of explaining the findings in your research, and then demonstrating it...thanks for posting this video, and hope you and yours are doing great!
after hearing abbey road for decades i came to realize what makes that album so great. paul`s bass playing and the tone they got when it was recorded all sounds magical.
Before the marvelous Leland Sklar’s rapid single note entry in “Dr. My Eyes”, Paul McCartney and the Ox (John Entwhistle of The Who, for the young’uns) were bouncing those beautiful “buppada-buppadahs” into MANY a tune ... including Paperback Writer : ). Love those guys...
DI and ambient mic - blend the two into something beautiful. Indeed! That room blossomed with sound. The Beatles worked their magic and Emerick made it shine.
.And I thought it was all just great "Music"! Fascinating - from a non muso, Quite magic really - I acknowledge the depths of your skills and the music created all those years ago. Thank you.
Man, this is just so exciting to watch, as an "inspired amateur" player! It makes me love the Beatles, and love you, and love music, and want to play music... No, man, I'm NOT on drugs, unless music is a drug!
This is a perfect technique for me to learn about today. I was just listening to Queens of the Stone Age's "Era Vulgaris" again this week, which is a VERY roomy album. I specifically noted the roomy sound of the bass on "Suture Up Your Future", and I've started playing around with room sounds on my bass tones and in my mixes. It can be such an interesting characteristic. Learning about how the Beatles captured, in essence, a similar sound back in '67 really reinforces this idea.
felt like a 30 minute video! I mean in a ridiculous GOOD way! Man you managed to cramp so much good information in just 8 Minutes while everyone else is stretching their video unnecessary. Really well done! That's how youtube makes fun. Short and to the point!
I don't know anything about Clay Blair, except that this video that I stumbled across makes it obvious that Clay has expert knowledge across multiple disciplines, aside from being a musician himself. Clay must have known what he wanted to do in life, from early childhood, and he stuck with it.
I played bass from 1968 through 1970. I always dug Paul's tone and wondered how he got it. I managed to find an old Rickenbacker bass collecting dust in a loft in a tiny music store. It had one massive pickup with a cover that was actually two U-magnets. I generally turned the tone control way down. It was a one of a kind instrument, I have fond memories of that.
@@samburkes7552 Ah well, I sold it to a friend who was my bass player for a time. He let it fall and cracked off the head. He was trying to get it repaired in L.A. in the late 70s and I lost track after that. Hope whoever has it now appreciates the treasure.
You nailed it man. I love that thump-y sound. Keep it simple and a little quirky. Makes for a more interesting recording. Combine with a imaginative Ringo beat and you can’t go wrong. Peace.
i always asked engineers for a touch of reverb on the bass and they always told me i was crazy but i make my own records now and often add a touch. thanks for this video also the chandler gear is porno
I've always added a bit of the room reflection when I record bass, but just barely enough that you wouldn't even notice there's any reflection at all in the mix. It just adds a bit of depth that can't be replicated otherwise.
If anyone says theres no reverb on bass get a new engineer. Sometimes in songs when its just bass and guitar adding some verb to the bass and not the guitar adds a very nice effect. The guitar stays warm n crisp but theres a tiny bit of verb underneath being held up with the bass. You could also double the guitar channels but then that adds another element ...
@@tornadoalleystudios2283 If using 'verb and vibrato on bass was good enough for the late great Chris Squire, then it be good enough for me!! :D Edit: Liked & subbed!
Joe Osbourne said he never changed the flat wound nylon strings on his Fretless Jazz Bass. He used a pick for the required transient effect; if he plucked without the pick one presumes the sound effect would be pretty dull. Listen to Simon and Garfunkel's "Save The Life Of My Child," "Bridge Over Troubled Water," and of course The Carpenter's "Superstar." If that's not heavenly bass, pray tell what is? It didn't hurt having Roy Halee for a producer.
You realize that they also had someone play the bass parts on the lower keys of the piano. Bob Erin was producing the KISS record Destroyer and they were doing Detroit Rock City. Gene Simmons wasn't able to get the bass sound as deep and heavy as they wanted so Bob played the bass part on piano in the lower keys of the piano. Then as the piano was played back Gene played his bass over that part and it sounded hefty. Peter also got that huge drum sound by backing the mic up so it was right at the door of his room so it would echo. Anyways Bob said that is how Led Zeppelin and George Martin used to do things in the studio to get that HUGE sound.
It actually makes sense for the mic to be away from the bass amp. Because the bass guitar frequencies wavelength is longer so it can have room for some frequencies to fully oscillate. Interesting.
Slight disagreement here. I would say, when the mic is farer away from the speaker it gets more of the 'big picture' of the moving membrane frequency wise. But while the wave travels it makes no difference where the mic is positioned. It just passes the membrane of the mic wherever it is. What you get is more reflections from the room and off course some delay when the wave reaches the mic. 8 feet make approx. 7ms in delay.
@@basstastisch378 Not to say Paul wasn't capable of being right in the pocket wherever he wanted to be - but, to your point re the 7ms - that also happens to be a nice little "lay back" amount to set the attack of the bass behind the attack of the kick drum and make them gel together nice and mellow. I worked with Leland Sklar on a few sessions and he was also very good at plopping the bass attack down right behind the kick for that laid back in-the-pocket feel. We used an old Ampeg tube amp (I forget the model), quite low volume, mic'd up with Telefunken 251's about 6 feet back and set to omni pickup.
I think it was more to minimize a bit of the proximity effect, which is that the closer a microphone gets to a sound source like the speaker in the cabinet the prominent the low end response gets. By moving away you're giving more time for the bass frequencies to dissipate and get lost into the room/space which can means less work trying to balance the kick and bass low frequencies. EQ controls were very simple and limited in the 60s compared to now so big engineers really tried hard at the recording step to make sure it was easy to manage as they could realistically get.
I absolutely love these videos of the gear used by the Beatles. This is specially good. He nails it. The amp, mic, bass, the compressor...even the room looks similar. I'd love to see a video from the other side: Paul McCartney playing a cheapo bass, through a crappy amp, recording into a 50 buck interface into a DAW. I bet the sound will be even closer.
@@chipgaasche4933 Yeah, well... Its just that they could have used other various types of cabinet/mic/compressor configurations and their songs would still shine... but buying all the tools and emulating it wont get you closer to being *like* them. I wouldn't mind the cash resources, however.
Part of what made Paul's bass lines so great was his chord progressions. By going in and out of different keys he set up a great bass line. Even if he had just root 5th his way through a song it would be cool because of the chord progression.
George Martin no doubt was a great teacher for the lads and Paul was a very quick and talented study. and if the Beatles were not enough for Mr Martin along came the Moodies.
I own quite a few basses- including a Rickenbacker 4001c64s. The c64s records so cleanly and smoothly no matter which way I do it. Thanks for the video.
The sound McCartney gets in the Pepper session sounds to me like the style of bass you get on Pet Sounds the year before. Loved listening to your bass playing through the Rick.
I read an interview where Paul was asked who his favorite bass player was and his answer was “Me. I think I can say that?” I always loved that answer
He was always a bit narcissistic
@@awubutfilmsab can u blame him? Man's perfect
@@armand2615 that's right
Yeah, he can say that.
@@awubutfilmsab - Gosh, is that your professional diagnosis?
Oh...wait...are you one of them internet goblins or gnomes or whatever they call them fellers that like to say stuff that gets folks all riled up?
What an ear this guy has for distinguishing the nuances of bass tones.
He is a master bass player himself.
I miked a drum set like that, and when I was mixing, a drummer friend happened to stop by, and he had George Harrison with him. No lie. As they listened, the reactions were palpable. George loved the sound (it was on a drum kit) but I had no idea at that time that Geoff Emerick used a similar routine. On bass. Thank you for a very refreshing look at recording history!
Wow!!!! What a story!
Riiiiiiight 😂
Loved the Beatles bass guitar sound. Paul is an outstanding bass player.
Have you seen his playing style on the "I Am the Walrus" film? He just lays it out casual.
Man. I was straight up lost in that song along with that bass groove. So good. Then all of a sudden, the volume dropped, you started talking again, and I realized my trip had come to an end.
I actually think Paul is one of the best bassists of all time. He's such a mammoth talent in every way, people sometimes forget to mention just how good a bassist his is.
Just in general one of the greatest musical talents who has ever graced the planet. Really tough to describe his, or the Beatles’ in general, impact, other than go to the most remote place on our planet.. tribal places where modern society had not really happened yet, and the people these WILL KNOW Beatles music and WILL want you to sing along with them.
James Jamerson , Carl Kaye and Geddy Lee are considered the best. John Entwhitsle of the Who was the first to bring the Rock bass out as a lead instrument.
It's all subjective. Quincy Jones thought Paul was a terrible bass player. But the final product asnd it's success are the final word. i had some Japanese basses from the 60's that had a foam arm mute that you could engage. Sounded alot like that, of course the pickups and general quality of the bass were terrible but someone at Teisco picked up on the fact that the muted sound was a "Feature". In my studio i'll sometimes mic the bass amp. I have a couple of the Fender White bassmans. If the guiutar players aren't using them the bass players will. I get more of them but Brian Setzer buys them all up. They're wonderful. Just a straight ahead amp. A bit under powered for bass but if the band isn't loud they're fine. Listen to James Jamerson. He had that sound to, never changed his strings unless they broke, played thru an Ampeg 30 watt fliptop. Played on 80% of the hits of the 60's.
Completely opinion, but Paul was a MUSICIAN and well-studied. Reason he could play so many instruments well. His attack of the bass was completely different to a traditional "bassist", which is what made his bass playing great, and the Beatles sound unique. Similar with Keith Moon of the drums in their completely different approach to their instrument. In terms of skillset on the bass? Not really "best" in my humble opinion, but a fantastic and wonderful bassist all the same.
Away from me try to diminish a great player (I’ve been working hard to be better at guitar), but Paul is such an amazing artist and songwriter, that his bass playing tends to be always seem as a tool to a greater talent, which is his music.
McCartney was a master on the bass. One of the very best, such interesting bass lines which stood out without hogging the show.
have to agree... was too young to realize how good Paul was when I was a boy in '64, but by the time I was 15, WHAM, I heard things like "LET ME ROLL IT/HEART LIKE A WHEEL" and could not avoid hearing THAT BASS. From then on all I heard was Paul's bass. Keep in mind that I really disliked "WINGS."
Is.
Not bad for a guitar player! Lol.
I also find Paul's lines really interesting. Tracks like Rain are among my favorite bass tracks....
I also thought John Paul Jones played some really great lines. My two favorite mainstream bassists.
@@jerryc8978 I said the same thing. I mean, he is still alive and rockandrolling
@@bishlap There were good bass lines in some Wings songs.
Thanks for taking the time to share your knowledge on this and other recording techniques that may otherwise be lost arts. Keep on sharing.
So good to hear a bass that sounds like a damn BASS. Well done!
One of the best bass players ever, Sir Paul.
Yes Sir, Pauls playing slices across all Genres of music. His techniques are great in Jazz.
Love this. I always loved the way the bass sounds on Beatles records. I't's interesting to hear how it was created. Love seeing your studio. I'm not a musician but it looks like it would be a place musicians would like to work in.
I’m a musician too and it’s just a warm room. Not intimidating, comfy like someone’s house. I really cherish that aspect of the room
The bass often comes through loud and clear even on the cheapest speakers.
my brain changed when I listened to Revolver on LP with headphones. Holy Tone. Holy. Tone. Bass. Love it.
I use the Koss HV 1As - almost a religious experience !
That's a major point... so much is lost by the equipment we all normally use. You got to listen in an ideal situation. That must have been great!
Listen to Magical Mystery Tour with a good sound system. Some of Pauls' best bass work, in my opinion. The title track, Your Mother Should Know, Penny Lane, Baby You're A Rich Man, All You Need Is Love. Great tone on that record!
One of Jimmy Page's favorite sayings about studio mic technique is "distance creates depth." He was also fond of keeping mics at a good distance from an amp or drums to capture some ambience and a sense of roominess.
fucking love everything about this - love that bit at the end, 'commit to something... ...this would be it and we would live with it." :D
This is beyond awesome. Thank you for making this!
Interesting?very awsome?😅
Great video - The demo of the room sound on the bass was eye opening.
"Paul-muting" . Great video! Thanks!
He is not muting the rickenbacker has that thing in the strings has the foam you just need to unscrew and the foam come up
@@SoyaIvansOficial Oh yeah, I didn't know that? same with the 40003S JETGLO bass9(see how I put it in capitals to make the bass BIGGER) lol
That is funny!!!! 👍🤣
@@bonnerscott5374 if you play or have a rickenbacker have the foam in the bridge
@@bonnerscott5374 check my videos with my Beatles song am not muting with my palm the foam inside the rickenbacker does it
My favourite bass part of any Beatles song are the two notes either side of the first verse (i.e. notes 4 and 5 in the entire song) in "roll uuuuup" on Magical Mystery Tour. You listen and each note is accompanied by a very subtle click and echo which I absolutely love and can't get enough! I don't know why but it's something that's totally intrigued me since I was 15.
Really from Rubber Soul onward - you're listening to the bass.
That Sgt.Pepper bass tone is stunning
That Boulevard Studio has a Beautiful Room. I work out of the biggest room in Central California (Maximus Media - Fresno) and I love Big Rooms. Harkens back to the Golden Era of Recording - The Romance of it all. Thank you for the video. It's fun and informative.
Fantastic. I love all the little details of the Beatles music and how it was recorded. Thanks for the insight!
Sitting back, thoroughly enchanted and intrigued by your marvelous knowledge and performances. Great stuff, Clay. "Palm muting," of course. Reminds me of listening to "SPLHCB" for the first time back in 1967 to sounds unlike any 'ear candy' we had ever heard before. Amazing! THANK YOU!
Love it. Interesting and very nice playing, too. Thank you!
Your friendly, yet fanatical attention to detail is commendable - to day the least!
Well, to morrow never knows. 😜
McCartney is a fabulous bass player for several reasons. First are his wonderfully inventive bass lines, which are rhythmically and harmonically outstanding. Second is something very difficult that only the best bass players like Paul can do: not only invent great bass lines, but then sing lead vocals or harmonies while playing them. Third are his combined skills on bass, guitar, and piano, all of which he plays at a virtuoso level and are integrated together in anything he does. Fourth ---- he's a total musical genius!
The minute you started playing I knew you nailed it. That's the sound. Excellent work.
I'm surprised I never noticed how busy Paul's bass parts could get. You never get the feeling he's overplaying on the records.
It's where you put it, right?
Yes he could get pretty busy at times but it always served the song. Rain and the end of She’s So Heavy come to mind
He was a guitar player 🤣
McCartney is a very tasteful player, you can get away with a lot of stuff if you're good, look at Jamerson's lines.
@@G8GT364CI In several interviews, Paul has said he was greatly influenced by Jamerson, although back in the early 60's he didn't know his name as Motown didn't credit individual musicians on their records. It was only when Marvin Gaye recorded What's Going On that James Jamerson got a credit on the record.
Awsome man! 👏👏👏
I find Pauls playing style very unique compared to how I learned to play bass, so it's always strange to hear his bass parts isolated, but he blends so well with the rest of the band.
His bass playing is something I always thought of how his lines just walk amongst the track and really bring a lot to it compared to what you may be hearing if not paying attention to his bass
He plays bass the "wrong" way by using his thumb and index finger pretty much as a fat pick and doing a lot of palm-muting. I think this is because he taught himself to play. I play bass exactly the same way because I also taught myself, so this may be a common way self-taught bassists play. I have tried playing the "right" way (finger method) and I simply don't like it nor do I get that thumping sound I love so much. I say "wrong" and "right" because there is NO wrong or right way to play bass, but some gatekeepers and elitist jerks will tell you otherwise. In fact, in the 60s it was common to play bass with a pick (which I occasionally do) before the finger and slap methods were commonly adopted.
@@James-eg3nf I didn’t mean so much his technique, or playing style, since that muted picking was common, though being left handed probably did have some impact on his unique sound. I mean that his rhythms were either unorthodox or straight quarter notes. Rhythmically kind of boring but melodically in outer space. His bass lines are so pleasing and intuitive but interesting at the same time. That’s what I meant by the isolated bass tracks sound weird, because I’d be playing something different, but with the whole band Paul’s bass clicks in like part of a jigsaw puzzle and the picture is completed.
@@James-eg3nf I'm pretty sure some players have been using their thumb like a paddle, along with palm muting, as a way to get that round, thumpy sound ever since the electric bass was invented. I'm self taught and do the same thing so you might be on to something though. I don't like much high end on bass either. I like bass to sound...bassy. Good tone comes from your hands, not eq knobs.
@@James-eg3nf Well, I learned to play "fingers-style" on a mid-60's Hofner 500s/1,, Violin bass like Pauls, only "righty"..Then I learned to play with a pick, as needed, for the sound..BTW, the Hofner is trashed. .needs extensive restoration work..May not be worth it, tho it is vintage..
God, that acoustic guitar intro.. so spot on. The entire track is very well done. Hats off.
I'm a bassist, not an engineer, but I enjoyed this video and learned a little technique from it. Thanks!
So much great knowledge, experience and generosity shared here. Sent to my son who is a bass player. Keep- up the great work and sincere thanks.
Great Vid, I used to have a 64 Showman Head 85 watts of tube bliss! Your vids are spot on, great research , the right equiptment, and good ears...
John G. from Bklyn, N.Y.
They're great old workhorse tube amps...like a Twin Reverb, no spkrs..
Thanks for this great video!
For a lay person, what an absolute eyeopener. Alot went over my head, but what I did understand.....just great.
Most awesome, man...great example of explaining the findings in your research, and then demonstrating it...thanks for posting this video, and hope you and yours are doing great!
after hearing abbey road for decades i came to realize what makes that album so great. paul`s bass playing and the tone they got when it was recorded all sounds magical.
These Beatles videos are brilliant. This is spot on
I'm an old Beatles fan from way back. Best band of all time and history will agree with me. Always loved he way Paul comes in on "Paperback Writer".
Before the marvelous Leland Sklar’s rapid single note entry in “Dr. My Eyes”, Paul McCartney and the Ox (John Entwhistle of The Who, for the young’uns) were bouncing those beautiful “buppada-buppadahs” into MANY a tune ... including Paperback Writer : ). Love those guys...
So true. Listening to them on headphones is just musical candy to your ears.
Great information. Thankyou so much. I always loved the bass sound on the Sergeant Pepper album.
DI and ambient mic - blend the two into something beautiful. Indeed! That room blossomed with sound. The Beatles worked their magic and Emerick made it shine.
Yes, a great synergistic effort on all concerned!!
makes me mad how great of a video this is
.And I thought it was all just great "Music"! Fascinating - from a non muso, Quite magic really - I acknowledge the depths of your skills and the music created all those years ago. Thank you.
Yes, he m0st certainly is!! Loads of talent in that gentleman!!
Can't get enough of these videos. Thank you so much for doing this man!
Thank you for reminding me that Paul is truly the greatest bass player ever!!!!
Excellent job of capturing the tones!
That was really fascinating. I would have liked to have heard the two tracks separately, though. Still a great video. Thanks Clay.
Thank you for this very interesting video! I must watch some more of your stuff. All the best from Finland!
Man, this is just so exciting to watch, as an "inspired amateur" player! It makes me love the Beatles, and love you, and love music, and want to play music... No, man, I'm NOT on drugs, unless music is a drug!
Awesome video! Thanks for posting!
Really enjoying these!! great stuff!!
This is a great video thank you for this
I love this recording space. Souch a funky live room!
That was fantastic. Thanks for the clinic.
My Ears say..YOU NAILED it.
I adore this channel. Awesome work. Thanks for sharing. Good good stuff.
This is a perfect technique for me to learn about today. I was just listening to Queens of the Stone Age's "Era Vulgaris" again this week, which is a VERY roomy album. I specifically noted the roomy sound of the bass on "Suture Up Your Future", and I've started playing around with room sounds on my bass tones and in my mixes. It can be such an interesting characteristic. Learning about how the Beatles captured, in essence, a similar sound back in '67 really reinforces this idea.
felt like a 30 minute video! I mean in a ridiculous GOOD way! Man you managed to cramp so much good information in just 8 Minutes while everyone else is stretching their video unnecessary.
Really well done! That's how youtube makes fun. Short and to the point!
Came in for the recording technique but stayed to enjoy your playing
Love the Vintage video series!!!
Commit to the sound... what an interesting concept. Bravo!
we NEEEEED the rest of the videos!! these are so great!
White Album in the next few weeks
I don't know anything about Clay Blair, except that this video that I stumbled across makes it obvious that Clay has expert knowledge across multiple disciplines, aside from being a musician himself. Clay must have known what he wanted to do in life, from early childhood, and he stuck with it.
Thank you George that’s very kind
@@BoulevardRecording, you nailed it, man!
Nicely done. Thanks for sharing.
Thanks for the info Clay! And great playing as well, sounding like Paul!
It's always great to see how things are done...
Thanks..
I played bass from 1968 through 1970. I always dug Paul's tone and wondered how he got it. I managed to find an old Rickenbacker bass collecting dust in a loft in a tiny music store. It had one massive pickup with a cover that was actually two U-magnets. I generally turned the tone control way down. It was a one of a kind instrument, I have fond memories of that.
Roger Furer, that's a very collectible instrument. Double horseshoe pickup motif ended yrs ago. Prob a very rare 4000..or 4001. Hang with it!!
@@samburkes7552 Ah well, I sold it to a friend who was my bass player for a time. He let it fall and cracked off the head. He was trying to get it repaired in L.A. in the late 70s and I lost track after that. Hope whoever has it now appreciates the treasure.
@@rogerfurer2273 Man, that's just really too, too bad. Lots of times headstock repairs are never really the same afterwards..Sorry.
I'll have to get my son to watch your videos on the complexities of recording bass, Music is a very deep subject. We'll never know everything
You nailed it man. I love that thump-y sound. Keep it simple and a little quirky. Makes for a more interesting recording. Combine with a imaginative Ringo beat and you can’t go wrong. Peace.
Yeah!
God I love that sound.
You get it perfect, with that beautiful little chirp/click from the pick when you palm mute. Thank you for this.
i always asked engineers for a touch of reverb on the bass and they always told me i was crazy but i make my own records now and often add a touch. thanks for this video also the chandler gear is porno
Carol Kaye?? She had chamber on her bass on a lot of records it’s a great sound if done right
I've always added a bit of the room reflection when I record bass, but just barely enough that you wouldn't even notice there's any reflection at all in the mix. It just adds a bit of depth that can't be replicated otherwise.
If anyone says theres no reverb on bass get a new engineer. Sometimes in songs when its just bass and guitar adding some verb to the bass and not the guitar adds a very nice effect. The guitar stays warm n crisp but theres a tiny bit of verb underneath being held up with the bass. You could also double the guitar channels but then that adds another element ...
@@tornadoalleystudios2283 If using 'verb and vibrato on bass was good enough for the late great Chris Squire, then it be good enough for me!! :D
Edit: Liked & subbed!
I have noticed reverb does more to a sound than add an ambience trail. It can affect the tone of an instrument not counting any trail.
Beautiful vintage style studio; I can appreciate the old school finishes and ambiance. Great and informative video; thank you for sharing.
Apart from what I learned I just really enjoyed listening to that :)
Great playing clay, that sounds great, inspiring, thanks
Made my virus free day here , ty Clay!
Really digging these videos. Thanks!
Flat wound strings make a LOT of that sound.
Hardly ever hear/see a Ric 4000 series with flatwounds one it
Yessir, Ray, correct. After hearing Squires sound with Yes, every bassist/wannabe jumped on the RotoSound roundwound string bandwagon!!
@@doitnowvideosyeah5841 Very true, indeed!! Even P-basses, J-basses, etc..
Joe Osbourne said he never changed the flat wound nylon strings on his Fretless Jazz Bass. He used a pick for the required transient effect; if he plucked without the pick one presumes the sound effect would be pretty dull. Listen to Simon and Garfunkel's "Save The Life Of My Child," "Bridge Over Troubled Water," and of course The Carpenter's "Superstar." If that's not heavenly bass, pray tell what is? It didn't hurt having Roy Halee for a producer.
@@samburkes7552 Hardly anyone uses flats anymore.
Great work, Excellent didactis, fabulous video! ... and you're a great bas player!
You realize that they also had someone play the bass parts on the lower keys of the piano. Bob Erin was producing the KISS record Destroyer and they were doing Detroit Rock City. Gene Simmons wasn't able to get the bass sound as deep and heavy as they wanted so Bob played the bass part on piano in the lower keys of the piano. Then as the piano was played back Gene played his bass over that part and it sounded hefty. Peter also got that huge drum sound by backing the mic up so it was right at the door of his room so it would echo. Anyways Bob said that is how Led Zeppelin and George Martin used to do things in the studio to get that HUGE sound.
brian wilson doubled many beach boys bass parts with tack piano...
m)
I was sceptical at the start of this. Then you absolutely nailed it. Excellent work.Thanks for showing.
You've nailed it. No doubt.
Beautifully done. Nailed that tone. Very nice playing! Thank you. I wish I had your mixing skills:)
you're amazing dude!!!
Thanks for honoring one of the greats!
It actually makes sense for the mic to be away from the bass amp. Because the bass guitar frequencies wavelength is longer so it can have room for some frequencies to fully oscillate. Interesting.
Slight disagreement here. I would say, when the mic is farer away from the speaker it gets more of the 'big picture' of the moving membrane frequency wise. But while the wave travels it makes no difference where the mic is positioned. It just passes the membrane of the mic wherever it is. What you get is more reflections from the room and off course some delay when the wave reaches the mic. 8 feet make approx. 7ms in delay.
@@basstastisch378 Not to say Paul wasn't capable of being right in the pocket wherever he wanted to be - but, to your point re the 7ms - that also happens to be a nice little "lay back" amount to set the attack of the bass behind the attack of the kick drum and make them gel together nice and mellow. I worked with Leland Sklar on a few sessions and he was also very good at plopping the bass attack down right behind the kick for that laid back in-the-pocket feel. We used an old Ampeg tube amp (I forget the model), quite low volume, mic'd up with Telefunken 251's about 6 feet back and set to omni pickup.
I think it was more to minimize a bit of the proximity effect, which is that the closer a microphone gets to a sound source like the speaker in the cabinet the prominent the low end response gets. By moving away you're giving more time for the bass frequencies to dissipate and get lost into the room/space which can means less work trying to balance the kick and bass low frequencies. EQ controls were very simple and limited in the 60s compared to now so big engineers really tried hard at the recording step to make sure it was easy to manage as they could realistically get.
For Paperback writer Geroge Martin close miked Paul's bass amp.
@@bry2k Paul was very Clever with Bass-Counterpart . notice how on Loads of Beatles recordings , the Bass could almost be playing a different Song 👍
an exceptional video!! thank you my friend.
I absolutely love these videos of the gear used by the Beatles. This is specially good. He nails it. The amp, mic, bass, the compressor...even the room looks similar. I'd love to see a video from the other side: Paul McCartney playing a cheapo bass, through a crappy amp, recording into a 50 buck interface into a DAW. I bet the sound will be even closer.
Those REDD EMI all tube mixing boards contributed a lot to the sound. It is also the way he played the bass.
Beautiful content! Thanks for doing this.
Most of this makes sense and is historically enlightening. I think the heart of the Beatles was their song writing.
Geritopia definitely their songwriting. But the recording bits are a topic of interest to many. It’s why I got into recording
Song writing and performances. They put tons of energy into everything.
Oh..you think so, huh, geritopia?? Lol
@@chipgaasche4933 Yeah, well... Its just that they could have used other various types of cabinet/mic/compressor configurations and their songs would still shine... but buying all the tools and emulating it wont get you closer to being *like* them. I wouldn't mind the cash resources, however.
I wish you were in my band Clay! Thanks man!
I use mic on cloth, a room mic in figure 8 and a mix of Di among other things. It gives lots of options.
Brilliant! The distance mic makes sense since the waveform is so big it takes a little space to really develop. I am going to try this. NICE TIP !!!
Part of what made Paul's bass lines so great was his chord progressions. By going in and out of different keys he set up a great bass line. Even if he had just root 5th his way through a song it would be cool because of the chord progression.
George Martin no doubt was a great teacher for the lads and Paul was a very quick and talented study. and if the Beatles were not enough for Mr Martin along came the Moodies.
I own quite a few basses- including a Rickenbacker 4001c64s. The c64s records so cleanly and smoothly no matter which way I do it. Thanks for the video.
Having owned the V64 myself I really do miss the gain it had....
Is that a,reissue? Some are not all that good. Maybe you got lucky with a good one!
That's really cool. You play really well....
Excellent video, really enjoyed it!
The sound McCartney gets in the Pepper session sounds to me like the style of bass you get on Pet Sounds the year before. Loved listening to your bass playing through the Rick.
Great video, you nailed the the sound.
this was great- trying to figure out the best way to capture my 1971 Acoustic 360/361.
Fantastic video, nice to see some old school values in this modern time.