Doddy

I'd prefer both. No point playing amazingly if your instrument sounds less than ideal. I'm not talking about promoters. I'm talking people band leaders and/or artists who hire you for a gig, or producers who book you for a session. If you turn up with a quality instrument, it puts peoples minds at ease that there won't be any issues with things like excess noise or intonation. You don't want to be the one who is holding up a rehearsal/soundcheck/gig/session or whatever because the soundman or producer is hearing buzzing from your bass. If you are playing in your own band and doing your own thing, play whatever you want, it's cool, but there is a reason why the list of pro players who use 'budget' instruments is a lot shorter than the list of pro players who use nicer instruments, especially in the sideman/session world.

My current favourites.... Will Lee Nathan East Jimmie Lee Sloas Steve Pearce

It's not about the punters though is it? It's about playing what you like, and what sounds and feels (and looks) great. The only other person whose opinion might matter is the person who is hiring you, and they will be far more relaxed if you turn up with something decent because it's one less thing to worry about. I've gigged inexpensive instruments but I'd much rather play one of my nice basses, which feel and play a hundred times better. I'd also rather someone say 'that bass sounds great' than 'that bass sounds great for the price'

I'm just going to pull up on this bit, because it's a line that gets used quite often in arguments against reading. I agree that you (general you, not personal) might never have been in a situation where you have needed to read. But if you put yourself out as a non reader then of course you will never be in a situation where you will be expected to read, because you will never get a call for a gig that might require it. For balance, it works the other way too. You wouldn't call a non improvising player to busk a jazz gig (for example).

I think Domi and JD are great. I haven't had chance to listen to their album properly yet, but the track with Anderson Paak is ace, especially the bit around the 4 minute mark. I like that there are players like them around, who clearly have Jazz sensibilities but are also taking influence from guys like Thundercat and Chris 'Daddy' Dave. It keeps jazz fresh, and stops it being stuck in the past.

I had a show booked there a couple of weeks ago, that got cancelled days before the gig because the boss decided that he wouldn't guarantee our fee. We spoke to a number of other bands who have had the same problems- some cancelled their show at the last minute, and others did the gig and have been waiting for months to get their money. The venue used to go under a different name and was rebranded (after getting a bad reputation) as Go Live last month, but it's the same owner. Looking at their Facebook page, it seems like 3 bands in the last 3 weeks have cancelled, so it looks like they are still messing a lot of bands around.

It's hard to say what to play without knowing things like the time signature, the feel, or the melody. All of those things should guide you in what to play. Note wise, yes you could play an open E through all of it if you wanted, but you could also play E's in different octaves too (if you wanted to stay on just the root). Alternatively, do you know the notes that are in all of those chords? If you do, that gives you a lot of options of where you can take your bassline.

I did the ships for a couple of years, mostly with a party band but a couple with the orchestra. The orchestra gig was mostly playing for the theatre productions or any guest act, so it's important that you've got your reading together. There may be the odd jazz set too, so knowing a bunch of standards is a big help, although you may get given charts by the band leader. The party band was a lot more varied and generally busier. There, you were contracted to work up to 5 and a half hours a day, although it was normally around 3 most days. It was expected that the band could cover pretty much anything, so we would play everything from early evening ballroom sets and Captains cocktail parties, to full theme nights of '50's, disco, country snd general party stuff. The band I was with had a repertoire of around 500 songs, and because we could all read we could add new songs in with no rehearsal, so we could go a whole cruise without repeating songs. With regards to gear, I only ever took one bass (usually either my Roscoe or Warwick 5's), a Line 6 M5 for effects, and a bunch of cables. You won't need an amp as there is one in every venue (I normally got Fender, Hartke, GK and SWR). Drugs were mentioned earlier, and while I'm sure that happens, there are random drug tests amongst crew and failing will lead to instant dismissal. Basically, get off at the next port and make your own way home. If it happens to a band member, the whole band will be off. I loved doing ships. I met great people, went to amazing places, and had a great time. I only stopped because of personal reasons, but I'd recommend it to anyone.

Nice looking gig bags. I've been using a leather Reunion Blues gig bag for a couple of years now, and it's great. I love leather cases- they're not cheap, but they are worth it.

Yeah he is. I asked him after the gig. I know gigs are happening all summer, but I'm sure there are 100 people in the Manchester and surrounding areas who could turn out on a Tuesday evening. They aren't all doing midweek wedding gigs.

I don't know. The room only held around 100-120 people. You would think that there would be that many musicians (or just bass players) in the city or surrounding areas (I went up from Stoke), who would be interested in it. You can kind of understand why so many people come on tour and don't go north of London- when they do, people don't turn out. Anyway, Janek is playing with Bob Reynolds at Band on the Wall in October.

Around 40-50. It was about half full. I was expencting it to be busier. It was a great gig with some high level improvisation and musicianship, as you'd expect from players who are that good. Janek's new F Bass sounds killer too.

The best thing to do is to leave your ego at the door and listen to what the band needs you to play, rather than just playing complex for the sake of playing complex. If you genuinely are 'better' than the other players, it will be obvious even if you are playing simple lines.

Then let them choose one of the other players who is obviously better for the gig than you are. Do you think I play all my jazz chops when I'm playing a punk/new wave gig? No. I take out a Precision bass and play what I'm required to play to make the band sound great and keep the gig.

It is if it's what is required to get the gig.

So, you jammed with a band, complained openly about the drummer, then wondered why they didn't hire you? With regards to the instrument, not everyone wants a fretless. It will always sound different to a fretted bass because it has a different attack. Sometimes, a gig requires a different bass to your regular instrument, so you can either suck it up and play what's required or you can give the gig to someone who will.

I've bought a few things from Bass Direct over the years, starting from before the shop opened, and there has never been a problem. I popped in to the shop a few weeks back, for the first time in a few years, and Mark couldn't have been more welcoming. I didn't have any intentions of buying anything that day but he let me try anything I wanted, and we hung out and talked for a good hour. I've got a lot of time for Mark, and think he's a great guy.

I don't think that they are different. If someone calls you for a gig or something and asks 'can you read?', and you answer ' Yes, but not sight read', you may as well have said 'no'. I liken it to language. I know a couple of French and German words and phrases, and could probably work out more, but I would never say that I speak either language. Although knowing a little is far better than knowing nothing Personally, every musician I knew when I was growing up could read, and I was shown the basics on the same day I picked up an instrument, so I've always thought that reading is a basic part of learning an instrument, and pretty much everyone learning something that isn't guitar or bass does it.

Quality and quantity really.

What about the option of playing a few times a week in decent venues for good money, and generally being looked after?

I've got tickets for that gig. I always try to catch Janek when he's playing with either his own band or with Bob Reynolds. You know it's going to hear some high level musicianship.

It's really not. Quick example.... A few weeks ago I had to sub out a gig I was doing, which was mostly original material, on the morning of the gig. I made a phone call, gave the details, emailed the charts, and it was all sorted in 10 minutes. Everyone was happy. I've also been the one who has had the call to step in last minute. This kind of stuff happens all the time, and there are plenty of players who can step in and nail the gig.

What I'd also call professional is not bring able to do a gig for whatever reason, but sorting out a suitable sub quickly and with no hassle. I agree that no one wants someone in the band who is going to consistently let everyone down (for whatever reason) and keep pulling out of gigs, but sometimes stinky poo happens, and most decent musicians should be able to call in a suitable sub.

I go Octave >Envelope filter > Overdrive > Chorus (sometimes). For me, a good synth tone starts with an octave pedal that sounds great with the direct signal turned off, so I usually use either an OC2 or Octabvre. Everything else I change around depending on my mood, but generally it's in the above order.

I'm pretty sure that concert is from when Eric Avery was on bass. Chris Chaney hasn't toured with Alanis since the early 2000s. Her touring bass player has been Cedric Lemoyne for a few years now.