Damonjames

Before this goes too far and gets misunderstood, in my 4 and a half years in the U.K., I have had the pleasure of being in a band and regularly playing with 4 quality drummers. I have never been in band and thinking, "I wish the drummer could get it together". That's said, we all, myself especially, make slip ups. My question is, when a drummer miss hits and stalls for the microsecond that feels like a lifetime, do you A: keep time and hope the drummer catches up B: time your next note to fall with the next kick drum/snare/ Symbol and hope the guitars cotton on and shift back into line. Reason I ask, I find myself doing both of these at times, but sometimes whichever one I do feels wrong. Ultimately, it's live music, and we plough on, I'm just curious to know how you all manage this!!

[quote name='karlfer' timestamp='1477308551' post='3161216'] ^^^^^^^^^^^^^^ Yeah, cos that'll happen [/quote] Bugger off Karl 😄

Cheers mudpup. Long term saving plan required!!! The emerald green looks amazing!! Nice stingray you have there too!!

Do you not know where he lives?

MM are a bit difficult like that. I'll have to keep my eyes peeled, they made them, they must be out there somewhere!!

Rocking horse poop!

Hey all, this may sound like a daft question, but have you all seen many of the PDN sparkle finishes for the musicman basses? I absolutely LOVE the look of these, but can't say I have seen many pop up for sale here in the U.K. I'm particularly interested in the the USA sterling bass and stingray 5's preferably with HH. I'm not in a position to buy right now, but I'm guessing it will take time to track down, so it's not really a "wanted" thread, just wanted to see if anyone else had any experience with them!

I'm. It for a second saying that all pro guys CAN do those things. My point is, if someone NEEDED those skills, and you happened to be available, it could open up new avenues.

Awwww man. Now I want a roasted maple neck musicman!!!

[quote name='Cosmo Valdemar' timestamp='1476954923' post='3158710'] I wouldn't be surprised if that's not a Warwick we're hearing. It could be the Fernandes. Or his Zon signature. [/quote] Yep, my money would be on the fern if I had to guess. Hugely underrated basses! Patrik has one up for sale for under £400, granted it doesn't have quite the same spec but it's still the same bass. He has tried a few different manufacturers to make something close to his beloved fern lol.

[quote name='blue' timestamp='1476928796' post='3158603'] Good discussion guys. Thanks In conclusion, I am just down. I've been doing this with passion since 1966. I don't want much just a little more after all these years. And I'm sure there are a few others here in the same boat. Blue [/quote] No one is begrudging you this Blue, it's in most of us to reach for more. You touched on it before, networking is your way out of your current "rut". That and a certain amount of luck. I once heard luck described as "when preparation meets opportunity", so are you prepared? Can you sight read? Are you a virtuoso, or can you play to a good standard? Can you use the Nashville numbers system? Can you improvise on the fly? Can you play a wide range of styles? Not trying to pontificate, I can't do MOST of the above, but this may be the difference between where you are and where you want to be. Scott from scottsbasslessons.com mentioned something that makes a lot of sense, find the busiest guys you know in your area, and book in and take some lessons, make sure they have your number, and don't knock back any offers. Try jam nights, they may be a waste, but you may find someone in a different circle looking for a bass player. One thing is for certain, if you change NOTHING, the likelihood is that NOTHING will change.

Ok, so I'll stick my head above the parapet and start... With the new album out in a few weeks, I just bought the moth into flame track off iTunes, and have heard hard wired a couple of times, I have to say, I can't wait until the al in is released!! I know this will open a can of worms, but I think we are a step closer to vintage Metallica with this one. Death Magnetic was let down by the production, and the bass was a little too far back for my taste, but the new songs seem to have bridged the gap in this regard. Rob's tone is killer too, I really dig it. While moth into flame has a very driven tone, that classic ampeg flavour is there. I absolutely LOVE. Jason's tone on the black album, the spector into ampeg just fits perfectly with James' guitar, IMHO this is the quintessential hard rock/metal benchmark tone. It sounds like they are heading back to this despite Rob being endorsed by Warwick, it isnt a "typical" Warwick sound, so maybe he is on something else. Whatever it is I like it. Go on, let the arguing commence!!!

I agree with Mr Starr, I have read many of your posts blue, and you have always seemed comfortable in your slot. As I mentioned earlier, the really good slots where you are on 5 nights a week for extended periods or on a retainer are few and far between. The reality for most working musicians is that you need to cast your net far and wide to make a living. Just keep your head down and work but keep your eyes open!

It's the thrill of the chase but also a learning experience. I have had to go through some basses to find what I like and what is confortabke to play, and am pretty sure I know what it is now. I can't get on with precisions due to the neck profile, so this also rules out stingrays sadly. But the ray 5, Sterling bass, and precision with jazz neck are all in my arsenal now and love them. I just hate the dread you feel a our a week after you do a deal that falls short of expectation, which is where I'm at right now. But I got it for a steal so the comfort is I can hopefully make some coin and by something else!!! I'm not helping an I??

[quote name='blue' timestamp='1476732350' post='3156805'] Well, right now my band offers consistent bar, festival and fair gigs.I know where my next gig is well into 2017. It's still below my worth IMO. I have to do it until I find something better. I'm still not sure what your point is and a US functions band is not the sort of thing I'm looking for. I'm talking about bands that are on the road gigging 5 -6 nights a week with international travel. Blue [/quote] I'm not trying to be argumentative, and apologies for the attack of autocorrect on the previous post!! My point i guess, is that the jobs you are after are few and far between, the guy I was referring to is a guy many would view as having "made it" with 2 signed bands and and an endorsement from a major company. Like it or not, the industry has changed, and the top gigs for musicians are in a large portion, the same big acts that have been touring for years with the same band/crew. I wish you all the best with your quest mate, you seem to have the personal circumstances to support the touring musician lifestyle, and have the drive to do it. Finding a way to bridge the gap between pub work and the big stuff you are after!! A little poem springs to mind.. I bargained with Life for a penny, And Life would pay no more, However I begged at evening When I counted my scanty store; For Life is a just employer, He gives you what you ask, But once you have set the wages, Why, you must bear the task. I worked for a menial's hire, Only to learn, dismayed, That any wage I had asked of Life, Life would have gladly paid!

[quote name='blue' timestamp='1476654942' post='3156110'] Hi Pete, Bar gigs is a $125.00 for 4 hours proposition. It's all I have now. My point is I feel I'm devalued at that level and when the right opportunity presents itself I want out and want to move on. I know a few people that are headlining and I'm sure I would be way a head financially even with half the gigs I do now. Blue [/quote] I know a musician who isaid in 2 bands that gig at large festivals (are signed and have albums released) and has to juggle his diary between these two, a VERY busy function band, does a jam night once a month and picks up dep work when he can. He also teaches lessons The function band comes closest to covering his day to day running costs, my point is, if you are a working group musician you need to take what's on offer regardless of whether you tHinksey it's below your worth as you don't know where the next gig will come.from

What are the sounds/tones you are trying to achieve mate?