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Encyclopedia of Soul Grooves: Donald “Duck” Dunn’s Classic Bass Lines By Rob Collier
Encyclopedia of Soul Grooves: Donald “Duck” Dunn’s Classic Bass Lines By Rob Collier… The bass world was saddened by the news that Donald “Duck” Dunn, best known as the bassist for Booker T. & the MG’s, died May 13, 2012 while on tour in Japan. The MG’s were the house band for Stax Records, a Memphis label which produced the likes of Otis Redding, Sam & Dave, Rufus Thomas, Eddie Floyd, and William Bell, among many others. Stax was often thought of as the southern counterpart to Detroit’s Motown Records. But where Motown was smooth and polished, Stax was gritty and gutsy.
With fellow MG’s Steve Cropper, Al Jackson Jr., and Booker T. Jones, Dunn provided the backbone for hundreds of hits in the 1960s and early 1970s. His playing style was never about being flashy, but always about providing the right groove. Dunn often played simple and repetitive lines, favoring one- and two-measure patterns that would repeat until the next chord change. Listening to a mid-60s Stax record is like being presented with an encyclopedia of soul grooves.
“Knock on Wood” by Eddie Floyd
The bass line on the verses of “Knock on Wood” (example 1) is, to me, the quintessential Duck Dunn bass line. It is simple and repetitive and it accents the off-beats. Dunn often accented off-beats to help propel a song forward, and he does it masterfully here. It is basically a one-measure groove without variation. It isn’t showy or virtuosic, but it is the perfect bass line for this song. Just try imagining the song without it.
“Eloise (Hang On In There)” by William Bell
The chorus in this 1967 William Bell hit has a very simple two-measure groove (example 2), but the subtle rhythmic difference between the two measures is a nice choice. Also, listen to the way Duck leaves space in the middle of the bar for Cropper’s rhythm guitar lick. These two parts work together seamlessly to form the groove.
“Everyday Will Be Like a Holiday” by William Bell
“Everyday Will Be Like a Holiday” was Bell’s follow-up single to “Eloise.” Duck plays a nice melodic line over this medium-tempo tune (example 3). He often leaves a little space on beats one and two, then plays 16th notes on beat four. This gives the line some movement without being too busy.
“My Baby Specializes” by Delaney & Bonnie
Duck lays down another great off-beat line on this recording from Delaney & Bonnie’s 1969 album, Home (example 4). He plays mostly on the off-beats in both the verse and the chorus. Notice how long Duck avoids the downbeat in the verses.
“Soul Man” by Sam and Dave
Classic Stax song, classic Duck Dunn bass line. The verse is just a one-measure groove that Dunn never varies (example 5). He gives the choruses more of a driving sound by playing straight eighth notes.
The bridge (example 6) is sort of a funkified two-beat.
“You Got Me Hummin’” by Sam and Dave
The outros of Stax songs were often the coolest parts of the recordings. The band always relaxed and just grooved once they got there because they knew it could be faded out. In the outro of “You Got Me Hummin’” (example 7), Duck plays another off-beat line doubled by Cropper’s guitar.
“Ninety Nine and a Half (Won’t Do)” by Wilson Pickett
Although this Wilson Pickett hit was released on Atlantic records, parts of the album were recorded at the Stax studio with Booker T. and the MG’s as the backing band. The bass line is basically a two-measure groove (example 8). Again, Duck rarely varies the pattern.
“Sister’s Got a Boyfriend” by Rufus Thomas
Rufus Thomas’ “Sister’s Got a Boyfriend” is a bit more obscure, but the groove is so good—it’s not just the bass line, but a whole band effort. It’s another off-beat, one-measure pattern (example 9).
“Hip Hug-Her” by Booker T. and the MG’s
Because Booker T. and the MG’s were an instrumental group, each member of the band carried an extra heavy load. Duck’s bass line on “Hip Hug-Her” is simple and repetitive, as was his trademark, but it also serves as a melodic hook. The main groove is a two-measure pattern (example 10). It is basically the same measure repeated, but the second measure has a little rhythmic hiccup that keeps the groove interesting.
Bass Videos
Interview With K3 Sisters Band
K3 Sisters Band Interview…
It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.
Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music, music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.
Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.
Here is the K3 Sisters Band!
Photo, Bruce Ray Productions
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Bass Player Health
What is a Pinched Nerve? with Dr. Randy Kertz
What is a Pinched Nerve?
In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.
Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!
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Gear News
New Gear: Ashdown ORIGINAL-EVO-C112T-300
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.
Product Specification-
Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg
For more info please visit www.ashdownmusic.com
Gear News
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…
The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.
This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.
The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.
It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.
Anticipated Availability: May/June 2024
For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/
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