peteb

I have a fair few mates who are sound engineers and the first thing to note is that there is a big difference between the guys who regularly get the decent gigs and some of the muppets who work on the smaller rigs. Unfortunately, Wolverine's experience is not unique and even some of the more capable ones seem to have a bit of a chip on the shoulder towards musicians, especially those in support bands. You don't need to ply engineers with beer and praise to get the best out of them, what you need is to appear to be credible and have a realistic idea of what you want from them! Turning up with the right gear and knowing how to use it helps a lot, as does appreciating what they have to do to get a good sound out front. In return they should help you get a decent onstage sound at a suitable volume to enable you put in a good performance, which after all is why the audience have come to the show!

[quote name='BetaFunk' timestamp='1371075578' post='2109647'] I wish that i'd known all this before i paid out a couple of quid to see Al all those years ago. I have decided now only to go and see really nice people who regularly give a percentage of their fee to charity, are kind to animals, don't swear, are not patronising to the audience and give money to starving people worldwide. [/quote] I recently saw a Facebook post from Pat Travers talking about being introduced to Al DiMeola, saying what a 'down to earth' nice guy he was, all be it a nice guy who drank and smoked a lot and whose language would make a marine blush! Now Travers is always said to be a decent chap by those who have met him and he liked DiMeola, so who knows what he's really like... Either way, still a stunning guitar player!

[quote name='waynepunkdude' timestamp='1371074551' post='2109627'] If you are over 19 and you are trying to emulate people on the TV or whatever then it's not their fault, it's your's. [/quote] +1

I think that this thread might end up following in the wake of the epic Fab 4 thread of a while ago! In answer to the question asked by the OP, I would say no! The Beatles were undoubtedly the biggest and most influential pop group of all, but I don't that their influence extends to all popular music as some have suggested and with the advent of hip hop & R&B dominating the charts, I would suggest that record companies have finally stopped looking for the 'next Beatles'! I suppose that you could say that they unwittingly established the template for every godawful boy band that is pushed by the industry, but it is a bit unfair to blame them for that...

[quote name='BurritoBass' timestamp='1370560806' post='2102897'] Is there an echo in here Peteb? [/quote] You hit the post button just before me! Just goes to show, mediocre minds think alike...

[quote name='chris_b' timestamp='1370560141' post='2102889'] Pop music pre 1962 really was awful. [/quote]Early Elvis, Chuck Berry, Muddy Waters?? I would suggest that not all of it was...

Depends on the band and the pubs you play! I used an 810 for years in a pretty loud rock covers band that tended to play bike rallies or decent sized pubs with no problems. However, the guitar player used a 412 half stack and we had use of a van not to mention all the gear was kept in a central lock up. These days I have to get my gear to gigs in my own car, which I have to unload myself at the end of the night. Funnily enough I don’t use the 810 anymore! Now I use a 410 and would consider changing to a couple of 210s…

Without wishing to rehash the Fab 4 thread again, to me the most important thing about the Beatles was the influence that they had on popular culture beyond that of pop music! Frank Zappa (or any other artist) will never have that level of significance and therefore can't really be compared! FWIW, I quite like FZ and have a few albums / used to have a live video, but I'm not really a massive fan. I actually like the humorous stuff and the sheer quality of the bands he employed - their ability to turn on a musical sixpence could be quite breathtaking at times! However, much of the instrumental stuff I've heard doesn't really do it for me, not that I've heard it all by any means...

[quote name='peteb' timestamp='1370389050' post='2100315'] So to get this right, he expects you to learn 25 songs for a pub covers band in three days for an audition that he is holding behind the current bass player's back for a gig that may or may not exist (depending on the situation with the current guy)?? It is hard to say if you are being too picky or not, but you definitely did the right thing in pulling out of the audition...! [/quote] So to get this right, he expects you to learn 25 songs in three days for an audition that he is holding behind the current bass player's back for a gig that may or may not exist (depending on the situation with the current guy)?? And then he gets upset because you didn't fancy it? It is hard to say if you are being too picky or not, but you definitely did the right thing in pulling out of the audition...!

I have to say that I have dealt with Minotaur four or five times (3 straps, 2 belts, an extra buckle & some leather jewellery) and each time the service and value has been spot on, not to mention delivery times far better than expected. When I googled Minotaur just now, two of the results on the first page linked to this thread. I would hate to see them go out of business just because a courier screwed up a return...

[quote name='Sonic_Groove' timestamp='1369140391' post='2085280'] No it is not a "Movie" it is real life! People are being crapped on like this in all walks of life! Telling it staight just gets one ridiculed. It is all about bums on seats/selling product. [/quote] C'mon, gimme a break... As you say, people get f**ked over in all walks of life but even more so in the entertainment industry. I believe that Bryan Beller got treated pretty badly by the same publication but he handled it differently and it was only a minor blip in his career. The whole point of the OP was that Wictor had come to terms with what happened and now felt able to share these stories with people who would be interested in them! The fact is that Wictor is a good writer and the "LA Story" posts in the TB thread could almost be written as a scene in a film, perhaps a remake of 'The Player' but set in the music rather than the movie business (and perhaps a little less cynical, hence the Cameron Crowe reference)! Anyway, I'm glad that Wictor has come thru it and hope that he sells his novel - he is undoubtedly a good writer! Also good to see that Thunes appears to be in a happier place and is back making music...

I know a couple of guys in West Yorks if that's any good? PM me if you're interested and i will get their contact details

Fascinating stuff! Does anyone else think that could be a Cameron Crowe movie here (complete with Nancy Wilson soundtrack if they're still together)?? You know, a failed embittered writer with health problems finds redemption thru the example of his idol, a brilliant but embittered artist who he requires as a genius but everyone thinks is a sociopath, who himself finds redemption thru the love of a good woman! The writer is friends with another couple with a dysfunctional relationship, a working musician who never quite hits the big time and his beautiful and sassy wife who has a meanstreak and who the writer is secretly in love with. All we need is a romantic interest, maybe an ex girlfriend who never stopped loving the writer but couldn't live with his negativity, who comes back into his life to complete his rehabilitation. In the final heartwarming scene he gets a positive prognosis on his illness and delivers the final draft of his novel to an optimistic publisher! Perhaps the basis of a pitch to CC there?? No... just me then!

[quote name='JTUK' timestamp='1368782632' post='2081367'] On a musical level every band can benefit from keys, IMO... on a personal level, watch out for the uinprofesionallism to creep in.. Is she hot.. ? [/quote] Dunno about that - I've been in a few bands where a keys player would have just got in the way. Unless they were particularly hot of course...!

[quote name='xilddx' timestamp='1368714742' post='2080577'] Ed Mann has made up with Thunes fairly recently, Wackerman remains silent about the whole affair. If you are fascinated enough, read Andrew Greenaway's 'Zappa The Hard Way', a book about the 1988 tour and tons of interviews with the band including Thunes (but not Wackerman), and Electric Don Quixote by Neil Slaven has a few chapters in it. [/quote] Scott Thunes rears his head round these parts yet again! Actually, I would be quite interested to hear Wackerman's views on ST and the demise of the Zappa band. Have you read Bryan Beller's account of his dealings with Thunes after Dwezil replaced him with BB (on his old website)? Well worth a read if you can find it - Beller is trying to be nice about Thunes, but he still comes across as a complete sociopath...!

Personally I always think as a musician develops and starts to feel at ease on an instrument, they tend to find their own feel, phrasing and tone that defines them as a player. I think this is much more apparent in players of tenor instruments as they tend to be soloists and the range of their instrument is closer to that of the human voice. As far as what notes you actually play - whether you copy a bassline note for note, put your own spin on it or play something completely different - surely that should be determined by what the song is and in what context you are playing it in...

[quote name='JTUK' timestamp='1368616678' post='2079166'] I have come to this conclusion because they are dead from the neck down in a musical sense. There is no finesse or playing there..just notes...no panache, no zip, no nothing.. You can watch 30 mins of the show and know every move they would make..and there would be no musical surprises. If it meant 'up' that would mean they have some sort of cerebral use ...but I use the word 'down'. as nothing they do could get the body parts moving.. As you say, don't wish to derail a good thead otherwise.. [/quote] I'm guessing that you're not a Dream Theatre fan then??

[quote name='JTUK' timestamp='1368569240' post='2078790'] But Rush are a band TOTALLY devoid of musicality and personality. IMO..!! If ever a band went thru playing by numbers it is these guys...if the Snakes and Arrows Sky Arts shows are typical..?? I had the misfotune to watch far more of that TV show than I should have...recently..!! [/quote] I'm not a big fan at all but that is just nonsense...

[quote name='polyrythmmm' timestamp='1367934592' post='2071171'] Firstly the car thing. Many of us Londoners have cars, that's why there are so many cars in London. admittedly there is a fairly high amount of commuter traffic but that doesn;t explain the 24/7 vastness of traffic in London. AND we get to 'steer' clear of the rush hours it's actually kind of fun driving in London after Gig down time. I play in bands in London and somtimes I'm the only bloke with wheels, is this frustrating? YES because no-one else is equipped to accomplish ANYTHING. They can't even move around. I have solved the over-reliance issue by moving from VW hatch-back to a proper old time mini "Sorry guys only room for me and my rig, and even that is creatively packed". The bands in London who can at least get there are by far the more promising 'gig wise' too, but in those cases, invariably, I'm the only one without a permanent day job. It's rare to find everything rolled into one batch of folks so yeah I guess, ask for everything. That's all in support of the wishlist & dream-building, but now.. Telebass. You ought to be be really nice and accommodating.. Build the plan call it a pro gig, build it and they will come. But recognise that you too have a bruisable-ego.. Your responses are as defensive as those who felt attacked, so I think you had better accept that with ego comes the will to succeed. Strip away the ego and you strip away the ambition. (generally speaking) I like to think many of us have the social skills to balance the two, but just leave it out entirely from the wishlist. If you mention it, it probably means it's a problem, and if it's a problem, it's your problem. In general though YES take the essential matters into your own hands, and build the gig (job done) amp power, ego's these are not gig issues these are your issues. If a guy who you have offerred the gig to on the grounds that he's perfect seems to turn up with a stupid looking stack to a jazz covers club gig well you have to make the call should you have allowed this guy into the band if the answer is yes even with his rig the rig stays until you can convince him it's silly. if the answer is no then why did you choose him?.. you know. distill it all distill it to the essential gig concerns and go to work end of. [/quote] Excellent post!

The Xotic jazz bass would be my choice - superb bass

[quote name='Dingus' timestamp='1367757242' post='2069082'] Your best bet might just be getting a Jazz pickup put on a post - 2008 American Standard . The 1.625 nut width and modern "C" profile on those basses is perfect for what you want . Why Fender don't make one like that , I have no idea . I'm sure plenty of people would buy them . [/quote] The trouble is I already have an Am Std Jazz and it's not that great. I got it s/h on here and spent a fair bit on a fret dress to make it playable and putting a new bridge on it. It's also a touch on the heavy side, unlike SOME 70s fenders that I've played / owned. You're second point is exactly what I'm trying to say - I'm sure that loads of people would actually buy a bass like that if they sold at the right pricepoint!

[quote name='Dingus' timestamp='1367692701' post='2068526'] Did you see the 2011/ 12 Precision Pro ? It was beautiful , which is why these latest ones are such a bad joke : [/quote] Yea, if you had a slim P neck (as opposed to a narrow J one) with a maple fingerboard, then that is exactly what I'm talking about! I wouldn't want to be paying custom shop prices though, but how about a series in between the American Special & Standard ranges? I think that would be interesting...

The one thing that this thread seems to show is that people want Fenders to look like Fenders! The one thing you can say about such an iconic brand is that there is not a lot wrong with the styling of P or J basses! What I would like to see is something like a ‘70s Player’ series, which would include a lightweight PJ bass with a Badass bridge and a not too chunky maple neck with a skunk stripe. Basically, the best that you would hope to find from a modded 70s fender P bass. I might even buy one myself if they got the build quality and price right…

If you are playing 120 gigs a year with guys at a high level, you are going to be improving dramatically without even realising it! You must be doing something right to get the work in the first place...

[quote name='Dr.Dave' timestamp='1367569979' post='2066938'] I'm not comparing JJ to Jaco - I'm comparing what I perceive as their differing approaches to playing music. To be defensive when hearing brilliant musicians... first you would have to accept the musician in question's 'brilliance'. In Jaco's case - I'm not sure I do totally. I also , generally , find that those who stand gaping in awe of another players technical skills are the average , jealous players rather than those who feel competent enough not to (seek to) need to prove themselves to anyone , but would rather put themselves second to the work they're contributing to. [/quote] Really? IME good musicians are confident enough to recognise talent in others and maybe learn from them...