carlosfandango

Hello! I need to dep out a couple of gigs this summer and I'm looking for a good solid bass player with experience of playing functions who can help me out on the dates above. If you are interested pls PM me a bit of information about yourself and a link to a website where I can hear you play. Cheers! Carl

Hello! I'm trying to help a client find a good function band for the 7th of June. The gig is in Maidenhead/Reading area, 2x45 minutes of pop in the evening plus a little jazz set for the drinks reception. Please let me know if you are interested by PM me. Need to hear your band so please forward link to your website. cheers carl

Bass player did a special on strings with lot's of reviews last year I think...or maybe the year before can't remember..........see if you find the article on their home page. I will see if can find the issue and scan it and share it with you.

I love the more "modern" alt country and the crossover between alt rock and country. The Jayhawkes, Steve Earle, John Hiatt....great stuff. Then I must admit that I secretly admire the fantastic production of "Big Hat" country....I can't stand the music but the players are really good and the sound is normally awesome. Music the way god intended! Yeee-haaa!

[quote name='jakesbass' post='206816' date='May 26 2008, 08:49 PM']There is a case in part for what you are saying, but I very much want to stress that we are on ground that is subjective, [i]being a good reader is not a feel bypass[/i] far from it. Feel is a very personal thing and I know plenty of great readers who can play with tremendous feeling. There are slightly different attributes between those that have learned instruments aurally (thats me) and people who read from early on, but I would shy away from saying one is better, they just are more appropriate in their respective areas of strength. Being a good reader is a huge benefit in time saving on rehearsal and recording which lends benefit to that type of work for those people, but the fact that there are plenty of aural tradition players that do very well means that it's a valid method of learning and reproducing music, not to be rubbished, and older as a tradition than dots.[/quote] +1 I just to work at an opera house and some of the musos there was awesome readers AND performers with a great "feel", passion and energy. They were also really good at improvising (well, maybe not the third violins...

[if you are a Pro it's nice when you get enjoyable work but playing music you like isn't always guaranteed, it's work! [/quote] hmmmm.......this is interesting. Maybe the most important criteria for making a decision about a career in music is whether you actually love music enough to want to do it 40 hours week....or more! Also just to comment on the financial side of being a musician - Being a jobbing freelance musician (like me) means that you are self employed and have to sort out a lot that normally is taken care of by an employer (like taxes, healthcare and so on). And being self employed also means that you have to be a bit extra careful and save up for the low months. A good way to start is to get some advice from an accountant or lawyer - there are firms that deals exclusive with artists and musicians and they can provide you with all sorts of advice and services to get you going. They will also have a good network that you eventually can tap into. The musicians unions are also very experienced and provides great advice and guidance - free for members!

[quote name='BassBod' post='206208' date='May 25 2008, 09:39 PM']Worth mentioning that the "highest profile" job I've auditioned for didn't involved any reading - not even chord charts. You just get a phone call, a time and place, and a CD posted to you by the management. Then you don't so much get judged on your playing, but everything else (sound, gear, looking for cues, coping with key changes..) as well as looking the part, getting on with people etc. It seems to me that music is increasingly illiterate. The older jazz guys are the only people I know (other than theatres) who ever use standard notation. Knowing your way on Pro-tools and being comfortable recording to a computer screen is far more important it seems. Its a dodgy old game...but fun, sometimes. BB[/quote] +1

[I'm really interested to hear from anyone who's tutoring and playing pub/club circuits, but not so much of the sessions for their cash too, can it be stable enough to count on? Another very talented guitarist i used to work with got a job at a high school as a tutor as well as teaching privately (and playing in 2 pub bands) but still works a couple of days a week at his old 9-to-5 to make up his paycheck. I could handle working a short week somewhere and suplimenting that with music, as long as the regular job didn't make me want to kill myself!! Cheers! [/quote] I do private tuition and I charge £28/hour in my home/studio. Pub gigs tend to be really poorly paid.....£300 for a band/night....sometimes more. Function gigs pay really well and can be really nice gigs too.....£150-300/night and person depending on the band. The "Wedding circuit" is fairly stable with of course a peak in the summer. Pub gigs are good to showcase your band and get some private parties etc....it's also "paid rehearsals".....It's really hard to earn any money playing the rock clubs in London (e.g. Cobden Club) as an originals band as you normally can;t pull that many people night after night to get a decent cut of the entrance fee's. Not sure what tribute bands make...I've heard anyhting from £100 TO £2000/night and person....only ever payed as a dep and have been give my flat fee so I don't knoe how much they make. Maybe some else in the forum can halp validate these figures? Hope this helps.

[quote name='Josh' post='205964' date='May 25 2008, 02:02 PM']Well one things for sure, this thread has confirmed my worst fear, and that is Sight Reading is more than essential if I ever want to call myself a Pro. But please say you all struggled like buggery in finally coming to grips with all the Sight Reading and theory lark?[/quote] LOL...it takes a bit of effort to learn to sight read...AND you need to keep it up once you learnt it to be fluid. I learnt to play the piano before picking up bass so I "only" had to learn bass clef properly.....that said.......I know plenty of really good players who don't read and they have plenty of work. Sight reading doens't really make up for being musical and having a good ear, but it makes things easier when you are looking for paid work, that's all.

[quote name='molan' post='205748' date='May 24 2008, 10:41 PM']Had my first BC meet up with people this week. Where did we choose to 'hang' - the car park of Reading Services on the Easbound lane of the M4! One Markbass 1x12 combo made its way up from Bristol, a 2x10 travelled from Brighton & some cash trekked the short distance from Henley. The 1x12 then headed back to Henley, the 2x10 zapped down to Bristol and the cash (plus a few new compatriots) went to Brighton. We all said it would be a quick three way transaction and then we'd be off, but, of course as soon as you stick three bassmen together they can't help but start nattering about equipment & basses Only 30-40 minutes or so nattering in a car park but really nice to meet some fellow low-enders & a very nice pair they were as well. All three people went away happy with their end of the deal & looking forward to trying out new gear or using the money to fund things. You don't get that from EBay now do you [/quote] Wot? A fellow bass player in HoT? Nice, we could have our own BC meets!.....btw I would be interested in your Mod jazz. Cheers, Carl

[quote name='wateroftyne' post='205716' date='May 24 2008, 09:40 PM']It completely depends on the gig.. I voted all three anyway. For a pub: Backline only. Art centre, small theatre: Backline and FOH. Festival, big theatre: Backline, FOH and monitors. There'll never be a situation where I'll do without backline.[/quote] +1 I like the idea that everyone in the band has their own backline so that the band can play together no matter what happens to monitor systems...keys included! Obviously not vocals... :0)

[quote name='jakesbass' post='205616' date='May 24 2008, 05:09 PM']I'm pretty sure you're joking but just in case you're not, I have fed and clothed and housed and holidayed etc etc a wife and three kids solely on my music income for 12 years. And I have many colleagues that have done the same. Are you pro Chris?[/quote] Hi same here. Sometimes I have worked extra doing other things a few days per week especially in the winter when I've had low months but music has kept me and my family going for....blimey almost 20 years! My top tips to stay on top of the game: - Learn to sightread - you will never be hired because how well you play but how well you read.....pit work, recording sessions ('nless you're doing your own thing), do I dare to say pantos, dep work, cruise ships....I know it all sounds really dreadful BUT it pays the bills...if you read! - always come prepared to work, be organised, have your gear in order, don't be late.....make it a hygine factor, not a selling point.... - be nice to people! - network, network, network................... - build a library of music....chart everything and save it so that you can find it quickly. I scanned all my charts (roughly 5,000 odd songs!) a while ago and keep it on my laptop which I always carry with me. "-You want some ABBA Sir, no probs, gimme a second............ I also got all my realbooks on PDF nowadays....... - Never turn down work! it doesn't matter what it is...work is work and you never know what it will lead to. I once got a call from a local covers band when I lived in toronto who offered me to dep for their bass player. Crap money, boring rock covers at a sh*tty bar down the corner. I really wasn't up for doing the gig and I didn't get a good vibe form the person who called me. Anyway, I needed the dosh so I decided to do the gig, learnt the stuff and went down to the gig. It turned out that the band was awesome, all really good players and the keyboard player was scoring for film and tv. We became really god friends and he has been giving me all sort of work ever since! - Be prepared to do a bit of everything....teach/tutoring, cover bands, tours, write, busking.....anything that pays counts! - Ldearn another instrument as well...I play guitar and keys which basically tripples the opportunity to get paid work - go for quality gear, but don't overdo it. No-one is gong to hire you because you have 400 boutique basses...make sure that you have ONE really good one that is properly set up and make sure you get to know that bass really well. Most producers hate when players are fiddling around with gear! I had ONE P-bass for over 20 years....then things got a bit crazy and started to try out all sorts of basses and amps and it went downhill.... .... Nowadays when I slightly older I have decided to develop another career in parallel mainly because I need to develop myself in other areas but I still do 150 gigs/year or so......I did a great gig yesterday with a local function band and I was thinking on my way back form the gig how lucky I am to be able to make money doing what love the most - play music!

[quote name='obbm' post='200041' date='May 15 2008, 11:31 PM']It's been there for several months. They even tried to auction it at BIN for £2000 a while ago.[/quote] I need to get out more!

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