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bass guitar from “don't stop 'til you get enough” by michael jackson | ToneDB

don't stop 'til you get enough

michael jackson

bass guitar

90% ai confidence

Tone Profile

A bright, percussive, and funky bass tone with incredible punch and clarity, driven by Louis Johnson's signature slap technique and a direct-recorded Music Man StingRay.

Signal Chain

Instrument: 1970s Music Man StingRay Bass (likely a 1976-1978 model with 2-band EQ)

Amp: Direct Input to Harrison 3232 Mixing Console

Processing: Harrison 3232 Console EQ, Urei 1176 Compressor (or similar FET compressor)

Other: Played with aggressive slap and pop technique ('Thunder Thumbs'). Fresh Rotosound Swing Bass 66 roundwound strings were likely used.

Recording Notes

  • Recorded at Westlake Audio, Studio A, Los Angeles.
  • Bassist Louis Johnson's distinctive and aggressive slap/pop playing style is the defining characteristic of this bass sound.
  • The bass was recorded direct into the mixing console (likely a Harrison 3232) to capture a clean, full-range signal with maximum punch and clarity.
  • Minimal processing was likely used during tracking, with EQ and compression applied primarily at the console.
  • Fresh roundwound strings were crucial for the bright, metallic attack and sustain.
  • Engineer Bruce Swedien aimed for a very dynamic and clear sound for all instruments on the 'Off the Wall' album.

Recreation Tips

  • Use a Music Man StingRay bass or a similar active bass with a humbucker pickup in the bridge position and an active preamp.
  • Employ a strong and precise slap and pop playing technique. Focus on the percussive 'thump' of the slapped notes and the bright 'snap' of the popped notes.
  • Record direct into your audio interface using a high-quality DI box.
  • Use fresh roundwound bass strings for brightness and articulation.
  • Apply EQ: Boost low frequencies (around 60-100Hz) for weight, add a slight scoop in the low-mids (around 250-500Hz) for clarity, and boost upper-mids/highs (around 2-5kHz) for attack and string noise.
  • Use a FET-style compressor (like an 1176 emulation) with a medium attack and fast release to control dynamics, add punch, and enhance sustain without squashing the transients too much.
  • Keep the overall signal path clean to preserve the inherent tone of the bass and the percussive nature of the playing.

Sources