(Sittin’ On) The Dock of the Bay -Donald “Duck” Dunn
Otis Redding — The Dock of the Bay (1968)
Bass: Donald “Duck” Dunn
Donald “Duck” Dunn’s bassline on “(Sittin’ On) The Dock of the Bay” is one of the clearest examples of how a bassist can shape an entire song through restraint, tone, and feel. Dunn doesn’t try to energize the track or push it forward — he supports the emotional weight of Otis Redding’s vocal by grounding the groove with calm, centered, unhurried motion. His playing feels lived-in, steady, and full of humanity. There’s nothing flashy here, yet every note feels essential.
The Line
The bassline moves with a gentle, rocking simplicity. Dunn outlines the harmony with clean root-based motion, occasionally adding tasteful connecting tones that lead from chord to chord without ever calling attention to themselves. His phrasing is relaxed and natural — nothing forced, nothing ornamental. The line mirrors the lyrical theme of quiet reflection: steady, grounded, and emotionally honest.
Each phrase feels like it belongs exactly where he places it. Dunn doesn’t embellish the groove; he inhabits it.
Pocket & Time
Dunn’s time feel sits slightly behind the beat, creating that unmistakable southern soul lean — deeply relaxed, unhurried, but never dragging. His pocket is wide and comfortable, giving the band room to breathe while still holding the pulse with authority. The beauty of his placement is how it matches the emotional pace of the song. The bass never pushes the music forward; it lets the music settle.
This is high-level pocket control: playing with enough weight to support the band, but enough space to let the song feel effortless.
Tone & Touch
Dunn’s tone is warm, round, and unmistakably soulful. He plays with a soft but confident attack, letting the note bloom before gently releasing it. There’s a vocal quality to his touch — the notes speak clearly without being aggressive. His muting is subtle and natural, giving each note just the right amount of decay to keep the groove connected without blurring.
This tone is the sound of Stax Records: supportive, earthy, human.
Harmonic Movement
Though the harmony is simple, Dunn finds ways to make the movement feel smooth and intentional. He uses gentle stepwise approaches and understated passing tones to guide the progression. His choices feel intuitive, like the natural way the chords want to move. Nothing he plays jumps out, yet everything he plays deepens the emotional shape of the song.
His harmonic approach is the perfect example of letting good taste lead the way.
Interaction With the Band
Dunn supports Otis Redding with absolute sensitivity. He never fills space just because it’s available; he lets the vocal stay at the center of the mix. The drums, guitar, and keys all move with that same sense of ease, creating a collective feel that’s more like a gentle sway than a groove. Dunn’s bassline binds it all together — the quiet, steady presence that keeps the entire arrangement emotionally grounded.
He listens, responds, and supports without ever intruding.
Working Pro principle:
Simplicity is powerful when it’s intentional.
Duck Dunn proves that you don’t need more notes to make a bigger impact. You need the right notes, played with honesty, warmth, and feel. He shows that serving the song is the highest form of musicianship — and that the quietest basslines often speak the loudest.
Shed Like A Pro
Hear every detail. Feel every nuance.
This isolated bass track gives you full access to the clarity, articulation, and pocket of the original performance—without the rest of the band masking the subtleties. Shed with the exact phrasing, dynamics, note length, and feel that define master-level bass playing.
Step into the band. Fill the chair.
This minus-bass version of the original recording places you directly in the bassist’s role—same mix, same energy, same interaction, with the entire ensemble responding to your time, feel, and sound.