martin8708

Rush have announced a small tour with their new drummer Anika Nilles , tickets going for about $350 to $1500 for VIP tickets , most fans are not very happy .Seems most of the money going to the promotors/ tour organisers rather than the band ?

Been there a few times myself . Sacked / replaced from bands . ( too old , too bald ) Watched bands slowly implode. Crazy dictators , deluded musicians . This is when I pack the bass away , blow the dust off my Classical guitar , as long as there is some element of music going on , I live to fight another day .

I occasionally trawl through the Facebook Musicians available page for our part of the country, and it’s filled with duo’s and solo singers who play along to backing tracks . The big advantage is they can fit into the corner of small pubs / eateries and provide background music /entertainment. Bigger bands need bigger venues , generally come with noisy guitarists /power drummers and generally need to be paid more . Payment over here on the Isle of Wight has always been poor , your lucky if you can get £200 for a gig , so going out as a five piece band does not allow you to quit your day job . Having played in two duos , ( No backing tracks ) the whole gig experience is much easier from accepting bookings ( without wondering if the drummer will turn up ) setting up / breaking down and interaction with the audience. Plus you get a bigger share of the gig money .

Why did I start bass ? I was learning acoustic guitar when a mate played me this song on an VHS video , ( over 40 years ago ) and I was hooked . I wanted to be John Taylor ,shame I didn’t have the talent or the looks . Yes , I still enjoy playing , but I enjoy other stuff as well . First bass , Yamaha BB1200 , Yamaha Musikland were selling them off 1/2 price . Current bass , 7 precisions 2 Jazzes and a Wal .

Tell them you have a job . (Full time , long hours ,preferably with HMRC ) Tell them you have a wife . Tell them you have children . When I use all three , it normally allows me an easy exit from a band .

I have had quite a few Markbass cabs and amps ( Markbass 250 / LM11/ LM3 / Momark 250 / Markbass Tube800 ) I have always found the cabs to be “soft “ , and it’s only when I switched to Vanderkley Cabs and suddenly I climbed out of the mud. My small gig rig is Momark 250 pure ( no EQ ) into a EA 12 whizzy . Bigger gigs is Markbass Tube 800 into Vanderkley MNT 210 .

Rice Pudding , looks like you’re eating a bowl of sick . I admit I have not tasted it yet , and probably never will. if I withdraw money from an ATM , I will always match the bank card to the bank I am using . My wife thinks I’m weird on this one until she tried to withdraw £100 from Santander with her HSBC card and the machine did not pay out any money, but debited her account with the withdrawal. We spent a good few hours in HSBC sorting this mess out . People who repeatedly tell me they’ve only payed 30 quid for there guitars / basses , and how those who’ve bought more expensive instruments have been ripped off .

Well , I do live on the Isle of Wight , AKA Gods waiting room . Cheap / free bands are also an issue , especially if the kids from the local music college form bands and offer to play for free to get gig experience. The money over here is very poor ,always has been , I don’t think I’ve ever played in a band that got £300 for a gig . Noise issues and small / quieter venues also make it difficult for full bands , we are considering going out as a trio ( no drummer ) and just using a Beat buddy pedal ( which we’ve used for rehearsal for years ). Smaller band footprint / easy volume control / correct tempo for every song , but you do loose the dynamics of a real drummer

In my experience, Pub Landlords tend to favour particular styles of bands , so if they like Punk /Ska music , they will book those type of bands . If you play more non mainstream music ( as we do ) , you tend to get the “ thanks for playing , here’s the money , goodnight “ treatment . I do sometimes wonder if we’re just cr@p , but we have over 200 years of combined musical experience, and lots of good feedback from the audience in general.

I have been looking at their Chibson SJ200 copies for around the £250 mark . I struggle with dreadnought size guitars and the narrower waist of the SJ200 may make it easier to manage . Far easier to buy a copy ( then sell on ) than dropping £4000 on the real thing .

I saw the Police when they last did the IoW festival , there was a very apparent “tension “ between Sting and Andy , but it was a great show .

I’m a big Sting fan , but I kinda missing Andy Summers and Stewart Copeland on this occasion.

Tough situation, but the very very best guitarists I’ve played with ( and drummers ) have not been loud , in fact , they have been surprisingly soft and we always try to crank them up in the mix . I am in a similar situation, good mix in the rehearsal room , but come gig time , and suddenly the guitarist brings out the heavy artillery and we can’t hear the vocals , the drummers beating the hell out of his kit , and I’m staring at the ceiling hoping it doesn’t sound too krappy . As Steve says , I just suck it up , as bass players are easily replaced .

As a resident of the Isle of Wight ( where every second person walking down the street is a bass player ) - I think it’s called the Mark King Effect , I could be replaced at the drop of a hat. However 2 band members don’t drive , and a LWB Landy carries all PA and band members to gigs . Half our gigs are with no drummer , and I’m the only one who can provide suitable back up drum machine tracks for these gigs , as well as backing vocals for the singist ( no one else does BV ) As previously said , no one is irreplaceable, but I bring a lot to the table .

From my rather limited experience of Songwriting and playing in originals bands , I think many musicians seriously underestimate the talent /skill required to write a good song . I used to write lyrics for our original band and the craft of creating a story or a message that hangs well with the music is not as easy as it seems . I have seen fellow musicians throw some words over a well worn chord progression, no wonder it sounds formulaic / stereotypical/ predictable, you can almost guess what’s coming in the next verse. Songwriting is a skill on its own , just because we can play guitars and sing does not make us songsmiths .

If I play the first few songs of the set note perfect , I start to get really nervous . Once I have fluffed a note ( or two ) I can relax and get into the gig , I suppose it’s just the expectation that I’m I’m going to make a mistake at some time or another . Only one major episode of total brain freeze ( David Bowies Space Oddity) , great song , but never played it since . Were all human , it’s how you recover from mistakes that matters .

I must be easily pleased , there are 100’s of beautiful bass lines out there . When the venue is heaving , the drummer sober and on time , the guitarist is playing beautifully and the singer is belting out the tunes , I will give each bass line 110 % in effort , timing and punctuation. That’s when I close my eyes , tilt my head back , and get sucked into that beautiful whirlpool of becoming part of the song / band . The more effort / emotion you put into even a simple bass line , the more it will reward you .

It’s quite common to bring in “high flyers “ from totally different industries in the belief they will invigorate sales / performance. In my 40 years experience, it never works , they just come up with ridiculous sales ideas to justify their obscene salaries .

Finding a band is very much like finding a job , it seems so much easier when you are currently in a band ( or in a job ) Most of my successful band joining have been from getting to know other musicians, I also approached a solo singer /acoustic guitarist in a pub and offered some fretless bass and backing vocals , which resulted in quite a few gigs . I would rather stick an advert up in our local music shop ( if you still have one ) than try the social media type thing . I think you are doing everything you can , sometimes we just go through a “ drought “ period . I am not too fussy or judgmental, I will initially play with just about anyone. I have joined some pretty ropey bands , but it gets me out rehearsing and sometimes you really click with one member who can introduce you to better opportunities.

Posted in incorrect topic , apologies .

20 years ago I discovered Fender Precision Bass , always was a Yamaha BB1200 bass player ( bloody good bass’s they are ) Enjoyed the first P bass , thought I’d better get a back up , I’m now up to number 7 ( or 8 ? ) The fender Jazz is unused ( we all need a Jazz Bass ? ) Dont get me started on amp / Cabs .

Just bought a Mono Sleeve gig bag from Thorsten , great price , in its original packaging , as new condition. Thorsten constantly updated me on booking courier , tracking numbers ,etc . ( I wish some shops were this good ) 100% recommended seller .

I have read George Martins book (Beatles ) and Stings autobiography, both books recommend in reading the “classics “ in literature and poetry. Sting was an English teacher before he made it big , so there must be something in it . Lyric writing is a massively underestimated skill , Elton needed Bernie . If the song can tell a good story , that people can relate to , that’s a good lyric . In pre internet times , ancient African / Aboriginal/ Red Indian history and folklore was passed down from generation to generation in song / music form , so good story telling in music is essential. The Beatles understood this .