JamesBass

[quote name='TimR' timestamp='1384357783' post='2275657'] How far do you get? Do you find musicians but they're put off after they hear your demo, or do people just not answer your ads, or do they answer and you decide they're not what you are after. I know when I auditioned for the band I'm in now they just couldn't find a decent bass player. They had 4 guys audition but they just didn't 'fit'. [/quote] I've been at every single stage of the process in the past 6 months! I've had people get put off by the demos as they often have a heavier and different take on music, that's fine. I've posted ads that get no nibbles and I've had jams/sessions with people and tell them it's in the key of say C and a basic 1, 4, 5. I've also asked people if they can play a major 7 and been met with clueless expressions. I find there are a lot of "musicians" local to me who are not aware of the work level involved, the knowledge required of basic theory and the determination to succeed! There are plenty of posers and what I'd call "bedroom musicians" I am by no means taking away from them, I just find them a waste of time for what I'm after! I'll just keep looking and working on my material and meeting contacts, I'm damn hopefully that it'll come off!

PM'd

How much would a 1995 Gibson Les Paul fetch these days? It has the original case if that helps?!

[quote name='TimR' timestamp='1384346029' post='2275468'] If you are using this approach then you are going to have to pay your musicians. No one is going to play unknown 'covers' for free. You're allowing no creative input from 'the band'. I played in a project where the songwriter/keys dictated exactly what notes I played, what rhythms and tempo the drummer played at, how the singer sang. We never got to the gig stage because he had not written the parts In the way a bass player, drummer etc thinks and took no creative input from the rest of the musicians. It was fairly soul destroying for the rest of us playing stuff we knew wasn't right and knowing it could be so much better. [/quote] I'm all for having creative input, I have no qualms with that at all, I profess to not being perfect. I encourage others to get involved and have an input because as a band we'd need to be able to be open and honest about the songs and everyone should be happy playing the songs. I've been in bands where I've been told just play roots and play common time on the beat and that's that! It's horrible just like you say! I just cannot believe how frustrating and hard it is to find like minded people.

[quote name='Truckstop' timestamp='1384211131' post='2274172'] You should get a piano or a guitar and write your own songs. Learn a few chords and some technique and you're well on your way to putting your own songs together and doing things your way. I've found it really hard to get seriously involved in any originals projects solely as a bassist. Truckstop [/quote] I've got a catalogue of around 25-30 songs, all finished and written, only changes that will be made are if the guitarists can't play the lead parts then I'll find a new guitarist and the melody and key, I'm more open to having singers change things with my songs, especially if they have a good voice and good ideas. Guitarists are ten a penny so they're easily replaceable it's the singers I have most trouble finding! Although it's been suggested that I look to take the lead vocals, it has never been my goal to sing, I'll do a harmony but won't take lead vocals, as I enjoy playing bass too much, even if I was playing a singing I'd rather only do the playing

[quote name='BigRedX' timestamp='1384168175' post='2273374'] The unfortunate truth is that you might actually not be pushy and determined enough. Playing original music requires a much higher level of commitment than simply churning out covers in pubs, and if you don't have a really good manager working for your band a lot of organisational, people skills and ultimately plenty of sheer blood-minded determination. All though it's never been the case in the past (even if a lot musicians want to pretend otherwise) being in a band is about much more than just being able to play your instrument to reasonably competent level. In fact I'd be tempted to go as far as saying that technical ability is perhaps the least important thing. I've found that people who are prepared to put in all the extra work that goes with being in a band tend to be the ones that improve as musicians simply because they enjoy it so much. It doesn't matter how good your "chops" are if you want to jack it all in because you've just arrived home at 4.30 in the morning after playing to a handful of people at an out of town gig, you don't have what it takes to be in a band. Like it or not the most important people in a band are the singer and the main songwriter. Everyone else (except in a few exceptional cases) is ultimately replaceable. So, if you're not currently performing either of these roles, now is the time to start working on your songwriting and/or taking singing lessons. Also the ability to play other instruments is never wasted. Otherwise you'll have to hope you get lucky by finding a band that has the required drive, is playing music you like and is in need of a bass player. To give you some idea of the time an commitment you need to be putting in let me tell you a bit about my band. Currently we're gigging on average once a week (all over the country - if you can't get the gigs you want locally go where you can get them). Next year when our current guitarist situation is resolved (more on that later) we hope to playing at least twice a week. We have at least one full band rehearsal every week where we work on new material, polishing any of the existing set that needs the work working on transitions between the songs to tighten up the set, and revisiting selected back catalogue so we can still play it live should the need arise. Also the singer and myself also get together every week with the aim of turning one of our ideas into something that is complete enough to present to the rest of the band as a song to work on. On top of that between all of us (although the bulk of the work is done by the singer and then myself) we put 30-40 hours a week into the non-musical aspects of running a band - contacting promoters and venues, keeping in touch with our fans/followers and other bands that we've played with, updating social media, sending out promo packs (both electronic and physical) creating the monthly email newsletter. We currently get around a 15% return on what we do - so every 100 gig enquiries lands approximately 15 gigs - and that's pretty good going. Also if a venue or promoter knocks you back try again in a couple of months, these things a fluid and promoters and booking policies change all the time. Currently we're also looking at getting some better band transport and finding a rehearsal space that can be permanently and exclusively ours so we can be more flexible and intensive about our rehearsal schedule. And finally regarding the guitarist situation. This year has been fairly volatile for band members (drummers and guitarists), and it was nothing to do with the music, but because they realised that they simply didn't have the time and energy that was required to be a member of the band (and that was just the rehearsing and gigging schedule). We've had to postpone two potential European tours this year because we couldn't guarantee a full band line up for all the dates. Even then considering how much time has been used auditioning and rehearsing new band members (or temporary stand-ins) during the last 12 months we have still managed to keep the momentum of the band going with plenty of gigs and the release our second single. What we are going to be able to achieve next year with a stable line up makes me positively giddy with anticipation. So to the OP good luck in your quest. Don't underestimate all the extra work that needs to be done. Also don't forget that too many musicians simply aren't prepared to do much more than play their instruments have a bit of a laugh and play the occasional gig (that's an observation not a criticism). [/quote] Cheers Big Red, fortunately with studying a degree in music performance and management, I'm fairly familiar with all that comes with a band behind the scenes, it's a very unglamorous job and one that requires a LOT of hard work and dedication. My previous band were self-recording and about to self-publish and self-manage and then when I asked the other lads to take it as a full time employment they scarpered rather quickly. Myself and the singer/guitarist wrote all the material, I myself writing the progressions and basic melody and the singer/guitarist manipulating odds and sods to fit his voice and our style more. It was a very good setup and one that was about to see us formalise the band to the point it would have been our jobs. Along with being in the band, recording the band, about to publish the band/songs, I also managed the band, getting us gigs, producing promo packs, digital and physical. I was also running an on the side bass tuition school with 4 students which was going well, I was also running a very small and occasional promotions company, so fortunately I'm no stranger to the industry, just still very young at only 20 and full of beans, hopes and wishes aha! I thank you for your comments, it's nice to see in my enraged and most likely slightly inebriated state someone was able to understand me aha [quote name='Dingus' timestamp='1384187735' post='2273724'] I don't want to go over the same points as a lot of other folks have made , but I would just like to say that , from my own experience , the only thing worse than being in a band with pushy people with very definite ideas and opinions is being in a band with people who no apparent motivation, strongly-held ideas or opinions . Maybe James needs to find people as driven as himself . Making a living playing music is a very hard career to sustain for any length of time , though , and even a lot of musicians in bands with record deals that you see on T.V are barely scraping a living by most standards and have no real security . If you really want to be a professional musician , that is the life you are signing up for, so when you say you want to make playing original material your main source of income, James, that is great but don't be under any illusions that your income from doing so is likely to ever be very significant unless you are both extraordinarily talented and/or lucky, and even then you will probably struggle financially . I personally know people in bands that have had several hit records , done World tours and have big media profiles who have had to sell their guitars and take awful day jobs just to be able to feed themselves when their career flatlined and their record company unceremoniously dropped them . I know it's a cliche but it's true : music is a very tough business to be in . Are you sure that is what you really want? As for playing covers , I enjoy it tremendously and I don't care too much what anybody thinks about that . It's a good job I enjoy it , too , because the harsh fact is that once you reach a certain age in this game , your most credible avenue for keeping playing music is to be playing covers. [/quote] I'll get it straight, I enjoy covers at home, I like to mix things up occasionally with my previous bands as it keeps us fresh going over someone else's songs, it helps with arrangements of originals, however I have no intention of gigging them, it's all too cliche for myself and not satisfying enough to play someone else's stuff, I do that in my spare time at home, it's wonderful to do as well! Nothing like nailing a John Entwistle bass line or grooving with Jamerson! But I don't want to do that live. That's not me, I probably have too much of an ego to do covers, but then again who doesn't at times?! It is what I want, I'm currently studying for a degree in music performance and management but I'll also do a PGCE so I can teach if I want to, especially if I move abroad! If I can, I'd like to do one, largish tour, UK would suffice plenty, but I want to be in a band that do tour and gig, even if we have brief success I'll be pleased and happy for life, I'd then more than happily take up full time teaching.

So I've been in and out of bands now since pretty much day 1 of picking up a bass over 10 years ago now. The first few were your typical teenage lets make a lot of noise trying to replicate our favourite songs played badly! But as time went on and I learnt more and more I began to find better musicians to form bands with, however I've never had the luck of doing more than 25 gigs in a band, mostly over 2 or 3 years. Every band I've been in hasn't had anyone who has kids or a mortgage etc. but NEVER takes off!? Since the age of 14/15 I've always made certain, that my bands aren't cover bands, I despise playing someone else's music live and for a payment, I just don't like it, I have fun and enjoy playing the songs but just not live, it's just not me at all. I'm very creative and produce songs like clockwork, which is exactly what I want to be doing, expect with a band who are as serious as myself, as determined to make the most of a good thing and really push it on and try to make it our major source of income. Perhaps I'm too pushy or determined? Maybe I'm just a bad judge of character musically? I just don't know, all I know is, I want a band, I want a band who write and record and gig and allow me to have a creative outlet and some great fun with some good people. Rant over.

[quote name='EliasMooseblaster' timestamp='1383486291' post='2264895'] If you're after that late '60s Entwistle sound (when he was mostly playing Precisions), probably a Fender Original - I recently bought a 62 'RI pickup from this series from The Bass Doc, which I'm hoping will get me a bit closer to the [i]Live at Leeds [/i]sounds. I'd hazard a guess Jamerson and Entwistle would both have been playing '60s Precisions, so the main difference is where they set their tone controls and how often they changed their strings! [/quote] Ok, will have to check them pick ups out along with most other suggestions in here!

What P pickup would give a tonal range from Jamerson woodiness to Entwistle attack and almost distortion?

I've bought basses from Nevada Music, GAK and Guitar Guitar. I've never bought one online, yet. Without doubt my best experience came from Guitar Guitar, they were the only stockists of the Rickenbacker in the colour I had HUGE GAS for, Walnutburst, and when I rang to check availability in Epsom, my nearest one, they told me that at that specific store they didn't have any in stock, however Glasgow had 5 so they would arrange one to come down by courier this was all over the phone and I paid a 10% fully refundable and changeable deposit. The guy I spoke to on the phone was the same one who gave me the bass to try and then set it up for me to my liking too. It was brilliant customer service! Without doubt the shop I HATE going in to is Nevada Music. When I was looking for Ricks to try out they had some so after work one day I popped in and went to try one, a nice sound mapleglo. However the bass was out of tune and awfully set up! It sounded great but they did put me through a CTM 100 Ashdown?! I told them it wasn't set up right and that I should try it through my specific amp to which I was told the set up is "Great, you just won't get a bass setup better locally and our amps are only for show at the moment" I then said thanks, I'll have a think and come back if I want it, the sales guy tried to get me to buy it there and then even so far as ringing it up on the till system?! But I went back in there 3 days ago and picked up a P bass and the strings were so detuned they were just about staying on the bass! I'd personally avoid Nevada like the plague nowadays! It's gone massively down hill, no customer service, untrained and clueless staff who shout their mouths off about people not knowing music and instruments! Plus their stock is crap, never have any decent basses besides the usual Ps and Jazzes and the occasional Stingray or Rick!

Hi Jeff, Welcome to the wonderful and eclectic world of BassChat! The only thing to bare in mind about a neck is if it's comfy. Personally I hate thin necks, it feels too cramped and too much like a guitar neck to me. The only way to find out which bass is for you is to go and try it, try and play your choices through the same amp using the same settings, which should be flat, all knobs pointing upwards, apart from master volume and gain! As for actual basses, if I were you, I'd look at any P Bass that you can afford, I'd also look at a Jazz bass as well as the others that people have suggested! Keep an eye on the for sale section on here as you can occasionally grab a bargain Good luck with your shopping, let us know what you get James

It's all 50-50, noddling from a point you know and understand is one thing same as knowing and planning each note, which I'm sure none of us do. I play around with things, sometimes moving away from the chord so it's in a minor key or using the sus chords can help create a different feel to a song. I never plan it though, I just do it then remember what I did and look at the theory later when I come to write it out properly.

Nope the "Other Half" encourages everything I do, whether I need or want it. She encourages me to go out and gig and to practice and improve. I do the same with her, if she wants new shoes, clothes or a new sewing machine or furniture then so long as we each have the money it's all good. Otherwise we have to prioritise things. I guess I'm really lucky to have such an understand and supportive "other half"

[quote name='Jimryan' timestamp='1382264864' post='2249762'] Another one is to see what acts are playing down here at the time you're thinking, if they're already local, they might be swayed a bit. Also depends on the artist. I remember Weller was down her recently doing acoustic stuff. I'm really curious as what the venue is, but I may have a couple of guess, one sticks out above the rest. As for filling the bill with smaller local acts, get in touch with either Nick Courtney, Ben Mills or both. They managed and booked Victorious Vintage and may even know someone to do the main slot. I would've suggested Joe Jackson, as he had a house in Old Portsmouth for a while down by Spice Island, but a quick Internet search informs me he now lives in Berlin. If you need any help, I'll happily oblige matey, I'm only in Farlington. [/quote] Cheers Jim, unfortunately I need to do as much myself as possible, it's part of my degree work but not a direct assignment in itself, it's rather complicated haha! I believe we've sorted all local acts for now, it's just securing a big name to give us the pull and gravitas to the venue and the punters! Might have to ask Ben, he's a mate of a mate so I'll call in a favour or two! Cheers fellas, if anyone else can help or suggest that'd be fantastic. Nick, I've already been down that route with Frank Turner and that was a muddy and frustrating route to take, plus many labels and management agencies seem to prefer to not be contactable. The lack of information on many of these artists and who to contact is staggering! The Who aren't even clear on who to contact and which label they are currently with!

So as the title says, I'm putting on a charity gig with a difference. Myself and my colleagues of my newly formed part-owned promotions company are looking to put a charity gig on in late Q3 early Q4 2013 i.e.; Janurary to April sort of time in a radically different venue somewhere within Portsmouth, I can't specify where due to contracts and negotiations but it's a seriously cool place, if all goes to plan. To boot we are looking to also have comedy and artists taking part too in some way. However as we want/need to have bands/music that is acoustic we are desperately trying to club together a group of acts who will give the greatest pull and ticket sales, it is for charity so the more sales the better we do! The charity is THE TOM PRINCE CANCER TRUST, which is a local charity that those in Portsmouth will know all too much about, those who don't know about it, check them out, such a nice charity, as are most anyway! But we'd like to get a big name to draw the crowd in, so far we've contacted and been turned down by Frank Turners people at Coda Agency and are now looking to our list of alternatives. But I need some help/pointing to the right people here and wondered if the magical ever surprising thing that is BassChat could lend a hand?! Our list of big names we'd like, as it stands is: KT Tunstall The Who(HUGE long shot as we'd need them acoustic and not sure if they'd do that) Charlie Simpson City and Colour Newton Faulkner Jack Johnson Obviously as it is for charity we aren't able to pay a fee, we can and are willing to cover expenses as should be expected. However we are finding it difficult to contact the relevant people and keep getting pushed from one fan club to the next and round and round the record labels and booking agencies. If any BassChat member could help I'd be forever grateful. In the name of professionalism and out of respect, any details of email addresses and phone numbers potentially deemed sensitive could you please PM me if you have them? Many many thanks, James

[quote name='JazzyYama' timestamp='1381825107' post='2244104'] toys arrived. first impressions Yamaha TRBX505 is pretty good - really nice fit and finish, only slight downside is as you would expect I guess a bit of a loose B-string. Amplifier really disappointing however, on switching on the TC Electronics BG250, there was a pop and sparks from the back of the amp! I am returning that therefore, and my quest for a decent (and preferably safe) amplifier continues. I understand that from time to time you might get a particular faulty item, but looking at the safety recall on BH and the experience of some other uses, I dont think I would like to risk another TC product [/quote] Shame about the amp! TC's are normally quite good in my experience, I'd take a look at the Ashdown amps as a replacement, very good amps As for your Yamaha, maybe some Balanced Tension strings by D'addario, that might tighten your B up, if not then look at a setup is what I'd suggest?

Work out what key it is in and then hey presto you'll have an area where to search!

Hmm the OP video just isn't interesting at all, it took me 30 seconds to turn it off and that's because I wanted to give him a bit of time to do something, I just thought the playing wasn't clean enough for that type of performance, for me the tone was naff and I just wasn't interested! I love Victors arrangements and covers, those are fantastic although I do often think he and anyone like him are too overcomplicated and try to fit too many things in and it looses all sense of a song and just because a show off fest! There's as much to be said about presentation and understanding as there is for chops.

+1 to Jazz bass, nice thin neck and very easy to mod in the future and good value when s/h. Amp wise I'd check out Ashdowns. ABM series is probably a touch out of your budget but it's hybrid so valve pre and solid drive. The all SS Ashdown is the MAG series, both sound great and are affordable!

I've a very eclectic and ever growing list of influences! I never cease to find at least 1 song/band/musician per week that influences me in some way. I first started off being influenced by Steve Harris and Iron Maiden. Steve influenced me in a playing style and writing style, I then moved on and began to be influenced by many modern bands and their bass players, while still retaining my love for older bands. More lately I've been more and more influenced by the likes of John Entwistle, John Paul Jones, Macca, Geddy and many of the other great rock bass players. I've also been influenced by the likes of Jaco, James Jamerson and Victor Wooten. But I'm not just a bass player, I'm a musician, I write songs, I arrange them and I compose. In terms of song writing and composition I'm influenced by Bach, Beethoven, Strauss, Debussy and Tchaikovsky. In terms of more modern song writers I'm heavily influenced by Pete Townshend, John Lennon, Macca, Steve Harris and Victor Wooten's arranging skills! You've gotta be willing to listen and learn otherwise you won't get anywhere!

The bass itself is eminently versatile, as are all basses. It's the players that aren't versatile. I use my Ric for pretty much everything, I play anything from modern and classic rock to soul and jazz on mine. It works if you adapt your style. I love the tonal variations I can get out of it, though I am going to be getting a p bass at some point, but that's because I have always wanted one along with the Ric!

[quote name='discreet' timestamp='1378942550' post='2206984'] Nah, that's a fact. In my opinion. [/quote] I concur.