Burns-bass

Your choice to work for free sets an expectation that others will. So your action has an impact, something we can disagree on (politely and collegiately). You’ve drawn a false equivalence in any case. Your choice to play for nothing at a local community event isn’t the same as someone being asked to play for free at a multi-million pound commercial festival. I have done, and continue to do the former but wouldn’t do the latter - and I think musicians who do so devalue their art, talent and value.

I know it’s morally wrong, but I bought a fake Peli case on Temu for an amp and it was brilliant. This would fit I believe (measure yourself obvs)

That’s cool and totally understandable. When you play Glasto, I hope you get paid!

The refinish shouldn’t impact the sound one bit. Personally, I’d get it done as that finish isn’t one I’d go for. Guess you need to choose if you want a box-fresh new white finish which may not suit the vintage look or a retro finish. Personally I’d go for the retro finish (but I don’t know who would do it!)

Double post!

This is an interesting This isn't about envy, it's about egalitarianism and fairness. Festivals promise artists with exposure and opportunities as an excuse for not paying them. When people refuse to work this way, the whole system collapses and a better one is created. Worked for the Dallas Cheerleaders who worked together to negotiate a 400% pay rise: https://eu.usatoday.com/story/sports/nfl/2025/06/24/dallas-cowboys-cheerleaders-pay-raise/84330932007/ For a more academic exploration of these issues, this is a good book: https://manchesteruniversitypress.co.uk/9781526171269/.

I fundamentally disagree. This is a commercial festival that's charging £355 for a ticket. I believe all artists who play on a commercial basis should be paid for their time. The artists are as integral to the festival, in fact they make the whole thing what it is. Do you imagine those people who provide the essential infrastructure – toilets, fences, temporary roads, power supplies and so on – work for nothing? We either operate on an entirely socialist basis, where everyone works for free – or a capitalist one, where everyone is paid for their labour.

She's working 24 hours for about £15 an hour which is fair enough. She's exchanging her labour for a ticket, which is part of the ethos of the event, all good. But I still think artists there should be paid. Won't clog up the thread anymore.

Just because some artists are willing to work for free, it doesn't mean that they should. What this does is establishes an expectation that artists will work for free while everyone else gets paid. This is a bad thing.

This argument has been had here a million times. Artists like Ed Sheeran, Foo Fighters etc. can afford to do the odd charity gig. It's probably got tax benefits for them to do so. Smaller artists, bands and other performers shouldn't be asked or expected to play for free, especially not when Glastonbury is charging £300 a ticket or whatever it is. In many cases, it's these unique performances at smaller stages that make the festival what it is. Venue owners love charity gigs because they get to put up posters, sell beer and feel they're doing the right thing while nobody else gets paid. I'm sure it all comes from a good place, but I don't like it.

92.9% feedback. Ebay don't lie!

Many businesses fail when they have to scale up to commercial levels. They lack the capacity, structures and resilience to do this. I think your idea of keeping this as a small-scale hobby business is a good one @Silky999 and I wish you all the best.

1966 jazz bass in candy apple red. Stays in its case. Won’t take it to gigs, won’t sell it. Took 2 years of saving up to buy it.

I get all that. Doesn’t mean I agree with it.

Just because some people are willing to work for free, it shouldn’t become the norm. In fact, I’d have expected Glasto to be better than some of the more corporate rivals. I’m sure tuning a festival is costly, but taking advantage of artists who make the festival what it is seems antithetical. Guess inside every hippy really is a capitalist waiting to get out. To all the artists performing I hope you have an amazing time.

Wow.

Agreed. We’re all trying to help you. If you’re a business you’ll also want to get some insurance, too. I have a business and liability cover can protect you from some problems with customers who can try to take advantage of you.

Completely agree. I assume you were offended by what I had written. If that’s the case hope you can accept an apology. It was all meant in a friendly way. This is the good part of the forum after all…

I have no idea why you’re so upset? We all agree you can do whatever you want when it comes to bass. But if someone asks for advice their opinion may different from yours. Anyway, it’s Sunday and I’m hungry.

Not at all. I use these when I play in a bluegrass band. The percussive nature and slap is all part of the job. Having the right technique means I can play 2 gigs and day over a consistent period with no pain, problems or issues. You can do whatever you want, but when you’re making recommendations to people who haven’t played before it’s always better to start with what’s considered the orthodoxy.

This is a completely different use of the third finger. Plus this guy is acknowledged as one of the world’s greatest classical players and learned the traditional way before developing his own unique approach. People here are trying to help. If you want to play double bass consistently well for a long time it’s a good idea to learn the right technique. If you’re using low tension strings that twang like a washing line, you’re fine to use whatever technique you wish. It’s all music at the end of the day. But playing bass the wrong way can really hurt.

Totally agree with all this. Jazz musicians (and any improviser really) exists at the intersection of inspirational genius and absolute failure. I love playing improvised music, but the audience at a jazz gig buys into it and understand the challenges. A blues band audience probably wants the songs played the way they were on the record. Without wanting to be elitist, jazz musicians are typically operating at a higher level of musical understanding, too. Almost every problem can be solved by chatting. I auditioned for a gigging band recently and the band leader said they don’t rehearse often (err, ever) but expect me to learn the songs, play properly and not to be flakey. I can introduce some personality into parts but ultimately stick to the songs as recorded. Do that and I’ll get paid and rebooked.

Best thing to do is (wait for it) talk to them. (Ideally without alcohol involved.)