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Seriously: If you value it, take/fetch it yourself
If palm muted, the guitar contributes a transient attack that a finger style bass part played on flat wound strings may lack. It can reinstate the definition that might go AWOL when an analogue multi-track recording is mastered to analogue stereo then and, then, cut to disc.
More modern examples would be Muse and Royal Blood (though in the case of the latter, it is of course more automated with octave pedals and a whammy).
On the other hand I quite like double tracking a solo an octave lower for a bit of variety, although again it's easier to use the octave down/octave up setting on the Whammy to do it when not recording
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Before the other guitarist left my band we used to cover lets dance, he would play the Nile Rodgers part and I doubled up the bass part on guitar with a fairly dirty sound and slighly muted. Sounded great and very punchy.
Would the palm muted guitar part be played clean or distorted?
Always seemed interesting to me that the country style doubling thing is used on ska recordings and I assumed it was coincidence but, apparently, in the late 50s, early 60s in Jamaica you could pick up radio stations from the American southern states so country music was widely heard.
In reggae doubling the bass line with a clean palm muted guitar part is known as tracking. By the 70s it pretty much comes to an end but what you get is a muted guitar part that's played as a counter rythmn - almost a second bass line. On a lot of Bob Marley recordings for example.
Any thoughts on guitar type, neck or bridge pup etc.?
Works for Vulfpeck
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