Graham56

[size=3]I won't add to the advice about making a living from music as I know next to nothing about that. [/size]

[size=3]You've also had plenty of good advice about being self-employed. [/size]

[size=3]Two things though - I note that you say that you are a: "[b]qualified trainer and provide training courses in my workplace"[/b][/size]

[size=3]Have you considered taking those skills into freelance life? It's what I did.[/size]

[size=3]I started offering training courses in my workplace skills and have now built it up into a reasonable living that pays the bills. One that I enjoy much more than any previous job I've had. It took about three years though to build up to a decent amount of work.[/size]

[size=3]The point is that most trainers are freelance, either working through agencies or direct to clients. [/size][size=3]The advantage is that you can build that side of the business up as much as you need, leaving the rest of the time for building up your music income.[/size]

[size=3]And the other thing is: [b]"she understands where I'm coming from and is very supportive"[/b][/size]

[size=3]This.[/size]

[size=3]This.[/size]

[size=3]This.[/size]

[size=3]Cheers[/size]

[size=3]Graham[/size]

Maybe replace the 'D' song with something easier just this once?

Think Stax/Blues Brothers...

Green Onions
Peter Gunn
Soulfinger (tricky with no horns, but could be done if one fo the guitarists can play the 'melody'

[size=3]OK, as you say, it's time to move on.

As others have said, why not advertise for like-minded folk? There are lots of people out there in the same boat - not confident enough to join a band but looking for people to jam with. Put out an ad that's clear about what you are looking for and I think you'd be surprised at the response.

One other route is to look for ensemble evening classes. I don't know what's available in your area but if you are near any major city there will probably be something where you can join and get practice in playing in small groups. Have a look at Floodlight or at your local colleges/universities etc.

I live close to London so I did a couple of years in evening classes at Morley college. One was a Jazz workshop where we learned to play some 'standards'. While this isn't my favourite form of music, I did learn a helluva lot - especially about how to bluff your way through a bassline with little or no preparation...

I also did a basic musicianship workshop at Goldsmith's College, which again gave me experience of playing with others.

In both cases I met other participants that I still keep in contact with. Two of us eventually went out and formed a covers band, which is still playing gigs some 7 years' later.

And as for your worries about age? I started bass in my late 40's knowing almost nothing and am now in my mid 50s. There are many others on this forum who are of simlar age or older. In my band we have no-one younger than 40. OK, we play covers of 'a certain age', but you can get some fun gigs doing that. 50th and 60th birthday parties have been some of the best gigs we've done!

Get yer erse out there wumman![/size]

Depends...

If it's a crowd that need a gentle warm-up first (especially if it's a lunchtime gig or a venue that doesn't normally have bands), we start with something mid-paced, such as Van Morrison's "And it Stoned me".

If we feel it's time to go in with more impact, we normally do a rocked up version of "Bohemian Like You".

Ah, s***, that's so sad. He was the nearest thing I have to a bass 'hero'.

So lets honour his legacy. Raise a glass, get the old Stax tunes out and crank up the volume.

I guarantee you'll be grinning within a few minutes...

Good on yer, Duck.

I love what Duck does and how he really propels a song.

It's interesting to watch his technique though. Thumb coming over the top of the neck. Lots of hand movement. Fretting fingers flailing away.

Like many, I was taught to try and eradicate such 'bad' habits and to use minimal, economic movement, etc etc. So whay am I not a better player than Duck?

Just goes to show, whatever works is whatever works...

STOP IT!

ALL OF YOU!!

I'm trying to get some work done here and everytime another clip gets posted my productivity dries up to nothing.

If my kids go hungry next month it's all your fault...

So, where have you hidden Wayne this time?

[quote name='JPS' timestamp='1334340625' post='1614956']
Having a bit of a Stax fix at the moment. Can't Turn You Loose by Otis Redding, Who's Makin Love by Johnny Taylor and What A Man by Linda Lydell.
[/quote]

Me too. I've been doing "Knock on Wood" and "Soul Man".

We already do "What A Man" - underrated song, great funky bassline. I love how these Stax arrangements are both melodic and driving while still leaving 'space' (for want of a more accurate description).

I'm also still working on "I want you back". Got the notes down, all I have to do now is sound like I mean it!

Oh and the singer now wants to transpose it to E which will trash the line on a four string...

Lift offered from Bromley area (SE London/North Kent)

Patch is using my LMII head on the day so I'll need to be there for pretty much the whole session.

So, I'll be leaving Bromley at approx 9.30 and will be getting back around 19.30 (Sunday afternoon M40/M25 traffic permitting).

I'll have plenty of room in the car for basses and bassist(s)...

Cheers

Graham

How about The Coral "Dreaming of You"?

Ok it's basically a 1-5, but it is lively and bounces around.

I know he's not jazz, and I know he's still alive..

But......

As far as I can see, no-one has yet dun a good biography of "Duck" Dunn.

Cheers

Graham

[quote name='whynot' timestamp='1329345482' post='1541199']
I enjoy the drive home from London gigs. Through the centre, some dodgy shortcuts and back into Bromley. Nice way to wind down I find.
[/quote]

I'm in Bromley too. We probably pass each other in the same dodgy shortcuts!

I drop the guitarist, his gear and the PA at his house first. We then have tea and cheese on toast. After that a half-hour drive home with the Beeb World Service on the radio. The tricky bit is getting my gear into the house without waking up wife and/or kids.

Living the rock'n'roll dream...

Excuse my ignorance, but...

My LMII amp has an "ground lift" switch. I've never used it, but if I did, would I be disconnecting the head from earth?

And would that mean that I am increasing the risk to me of a shock? If this is the case, why do they supply this option without lots of warnings?

Cheers

Graham

My covers band has been offered a gig that I can't do. They've decided to go with a dep. I'm OK with this as I don't want to be the one holding them up.

There is a problem though. I drive a MPV, which carries me, my gear, the guitarist, his gear, and the PA (owned by the guitarist). The guitarist has a motorbike but no car, while the others have sufficient transport to get themselves and their own gear to the gig. Between them they don't have enough transport capacity to move the PA and guitar rig.

It looks as if they might not do the gig after all.

So now I know. They can replace me in a heartbeat.

But my car is more important to them...

Cheers

Graham

It's nothing to do with the age, but more to do with your role in the transaction.

If you are buying, it's just an old, beat-up Fender.

If you are selling, it's a vintage collectible...

Cheers

Graham

Just get your band mandolin tech to hand it to him from the side of the stage...

If the gig paid enough.

I live in Kent so it's not that far...

Nah, sorry, that looks nothing like Bruce Springsteen.... NEXT!

You've got years of experience so you know this anyway. But for completeness...

If you do get lost, don't stop. Play percussive, staccato notes, staying with the rythym, until you work out where the hell you are.

If you make the notes short enough most people won't be able to tell what you are playing. But they will notice if you stop or lose the beat.

Cheers

Graham

I'd be keen. I'm in south London so north London or Midlands works for me.

And I know you are all itching to have a go at my beat-up, resprayed, transition-era ('69) P-bass with additional bridge soap-bar pickup...

Cheers

Graham

I don't think you guys have been thinking this through...

The next time any of you try and sell a bass we'll all be checking in here to see what you really think of it.

That "lovely sound, plays like buttah, hate to part with it!" will translate to "heavy, neck-diving dog with uneven string response and s**t preamp".

Oh, and my lefty P-bass has a great presence, no-nonsense passive sound, wonderful chunky neck, and plays like a dream...

Cheers

Graham

I had the 24db (for a medium-loud covers band) then changed them to 17s in the same moulds.

I found the 24db was too much. The music wasn't the problem, I could hear that clear enough. What I didn't like was the sense of isolation, from both band and audience.

There is a feedback energy you get when an audience is enjoying what you do, which at its best makes you raise your game while playing. I felt the 24db filters screened this out and made the gigs less enjoyable - more like a job of work. I ended up playing in a very static position, spending more time looking at the fretboard than otherwise, lost in my own little world.

I changed the filters to a 17db and the whole thing is much more enjoyable. I still get protection but I feel I'm in a gig once more, interacting with the band and audience.

Dunno what it would be like in massively loud band though...

Cheers

Graham

[size=3]Me, I'm a hack...[/size]