musicbassman

Hello BCers,

So, I live on the South Coast, I’m 66, and I’m having a real problem sourcing a bass vacancy in a quality well established covers/functions band anywhere in Sussex, Hampshire or Surrey.

I’ve been looking for over a year now, and have only chosen to do one audition – this was the only gig on offer I’d come across which had the decent level of playing ability and professionalism I would expect.  I didn’t get the gig - I don’t think there were any problems musically, but the rest of the band (and the two other auditionees I saw) were about 25 years younger than me, and maybe who really wants their Dad on stage with them?

I’m not expecting to find a Vulfpeck or a Natalie Williams Soul Family, but surely I should have been able to find more than one suitable vacancy worth auditioning for in the last 15 months.

Am I looking in the wrong places? I use Bandmix, JMB, Find a Musician, Gumtree and Starnow. Maybe I should use the dreaded Facebook ? – I’ve avoided signing up to this for reasons many will understand – but is this worth selling my soul for now?

I’ve been lucky to have found two long term dep gigs over the last 12 months, the second of these finishes after this NYE, so I’m hoping I’m not about to enter a gig desert and still be looking for something in 12 months’ time.

Any reasonably polite suggestions welcome, apart from “Why don’t you just pack it in, Grandad?”   

Well, this is either gold plated genius, or absolutely appalling - you decide.

Stumbled upon by chance in one of the stranger back streets of Youtube. I'd go for genius.

Definite shades of early Return to Forever from 6.00 to the end.

I used to do a lot of high end function work and the general rule seemed to be - the posher the function, the less likely you were to be allowed anywhere NEAR the buffet.

You were merely 'staff' and got a plate of sandwiches in the kitchen.

Admittedly, I also remember doing some gigs where we were offered first dibs at the buffet - and this was clearly to the great annoyance of some of the guests. I remember a Hooray Henry at one do being particularly offended. He told us in no uncertain terms that we needed to 'learn our place' and threatened to 'sort us out' later.... but I suspect the shampoo may have been doing most of the talking here...

Late 1970's - The roadie of the band I was in somehow managed to leave my '63 Precision (in it's case) overnight leaning up against his gatepost at his house after returning home after a Sat night gig - we were playing the Sun lunchtime and he'd agreed to leave the gear in the van but take all the guitars indoors overnight.

Two little boys had knocked on his door about 10am on the Sun and asked him if he wanted the 'old guitar' that he'd left outside and 'was it for the dustman ?'.....

JMB is really the best of a bad lot, but as others have said, a lot of dreamers and fools on there. The wording of the ads can usually set off alarm bells - for me, anyway.

Bandmix is a complete waste of time - half the people advertising on there seem to misunderstand how to use the composition menus, so the search result says they are looking for a bass player, but their page reveals they are actually looking for a girl singer.

Find a musician - a waste of time.

Starnow - only recently found this, but seems to be the same ads up all the time with nothing new.

I'm depping at the moment but have been looking for a decent permanent covers band position for over a year now. Maybe I'm too fussy - I've only chosen to do one audition in all this time. That was fine musically, but the rest of the band were all about 30 years younger, and who would want their Dad playing on stage with them?  😥

2 hours ago, mikel said:

Well quite, but what is a singer doing answering an add, insisting on songs, asking for the gig, If the partner is not on board in the first place. That was what pi**ed me off.

They're deluding themselves, somehow imagining that it's all going to work out somehow.

Signs of an immature personality, a selfish streak and possibly an unravelling relationship with their partner.

Avoid like the plague !!

1 hour ago, mikel said:

Hence the phrase "That I would never use". For most of us time is tight regarding music as its not our full time job. Why waste any of it listening too, deciphering and learning something that is completely alien to what you want and like to play?  My musical theory is to drop stuff I dont need and get better at the stuff I do use and need. If I was a pro musician with 10 hours a day to practice then it would be different.

We’ll have to agree to disagree on this, mikel.

Yes, of course you learn your favourite bass lines from your favourite players – these will influence your fundamental playing style. You may also, like me , usually work in cover bands and have to learn a wide variety of bass lines and bass styles to suit your chosen set list.

But if you sometimes try to learn something outside your comfort zone then all sorts of wondrous creative things can happen – and if you are in a band trying to write original material that doesn’t sound too much like something that’s gone before you can then bring a fresh approach to your bass lines as a result, and people maybe won’t say “Oh, they sound just like so and so”

Just two examples – think of Louis Cole – he’s written some amazing innovative synth bass lines for Knower. And then along come Sam Wilkes (and Tim Lefebvre) and they use these as a kicking off point to play some really fresh lines (and most of these are completely beyond my capabilities!)

And also think of the influence of Dilla beats on Hiatus Kaiyote – this affected the whole interplay between bass and drums on all their material and pushed things off in another new direction which other bands are now slavishly trying to copy.

Just my opinion...

2 hours ago, mikel said:

Depends what you want to play or the style you want to have. If the part has techniques, phrasing or style that you would never use in the music you like to play then I dont see the point in learning to play it.

Sorry mikel, but if it has "techniques, phrasing or style that I would never use in the music I like to play"  then that's every reason to learn it - to open your mind up to different ways of looking at the bass as an instrument and its musical role in a band.

2 hours ago, Delberthot said:

Occasionally I have to learn songs that I don't like for wedding gigs so I always have something ready at the end that I enjoy playing. At the moment it is this version of What Is Hip - I find it easier to play than the original despite being a lot faster

 

Jeez - that is seriously quick !!

It's a generation thing. What is a 'standard' to one generation is a WTF to the next.

In the early 70's I was in my early 20's and was living in London. I used to pick up dep gigs through the MU. A lot of this was function jobs with musos in their 60's and 70's who were the remnants of the old dance bands from the 40's and 50's.

"What? You don't know 'Satin Doll' ???   What is the world coming to ???........ Well surely you must know 'Cherry Pink and Almond Blossom White ???" etc etc......

Plus ca change...

40 minutes ago, ambient said:

I’ve got a transcription of what is hip if you want it. It was an exam piece at uni.

Thanks Ambient - for me, working out the line for myself entirely by ear is all part of the learning process.

So.... I've finally got round to learning Rhythm Stick. It's a monster bass line I've been meaning to learn for a while.

Any other ideas for great bass lines to study?

(I'm planning on 'What is Hip?' next)   

Mononeon has also covered this in his trademark OTT style - I think the original bass lines here are equally God tier but more restrained.

Best of luck. I'm sure others can advise you re Jam/open nights, but although you may now have an Ozzy attitude to distance you'll have a job understanding the current problems of parking - you'll know it was difficult in 1990 - difficult at best of times, but now it's almost impossible in some big cities, even in the evenings. And as for London, forget it - you'll have to use public transport to get around now.

I had some U.S. friends stay a few years ago and they were dumbfounded that you couldn't simply rock up to some venue to jam and simply park nearby.

Sorry to dampen your enthusiasm, but best you appreciate this before you start planning things in advance.   😀

Two minutes in, and I have a gradual creeping realisation that this is NOT a comedy sketch. It's like Jazz Club but for heavy metal.

This is pure horror gold - he's straight from Central Casting...

So, he apparently bought seven 'Hyperfuzz' pedals - does he chain them?  It couldn't sound worse...

Well, this thread just keeps on running...

As OP,  I stated I own just ONE - that still applies. A much loved active PJ.

I play all styles - fingers, pick, slap, thumb, so technique combined with pup choice and EQ means I can get a huge range of sounds from just this one bass.

What really puzzles me is how someone can change from one bass to another without taking a good period of time to get used to it - especially from four to five?

Maybe someone can enlighten me. 

10 hours ago, kodiakblair said:

The headstock shape must be traditional. This fella turns up in a few Google photo searches playing the " Đàn tứ dây " (Vietnamese bass guitar)

 

Well, that looks seriously uncomfortable to play, especially seated.

16 minutes ago, BreadBin said:

I'm naming it Gerald. 

Vietnamese language is all single syllable words - so maybe Ger Ald ?

The bass clearly doubles as a hoe for use on the Glorious Collective Farms of The People.

Just back from a couple of weeks in Vietnam and Malaysia. Went to a 'cultural show' in Hoi An and the resident band were all on traditional acoustic instruments - except for this guy!

(Sorry for poor quality - this was zoomed in from way back in the auditorium).

4 minutes ago, Graham said:

From the blind test at the recent SE Bass Bash, it's clear that most basses sound similar and I'd say the easiest thing to identify was if it was strung with rounds or flats

- so maybe at the next Bass Bash, instead of a range of basses there should be just ONE bass - but with half a dozen different competent bass players all playing the same line on it - maybe some standard like a Motown or Stevie Wonder line - then we'll see how much difference there can be just between fingers...

4 hours ago, AdrianP said:

Can't work out the chord structure or even the key.

Really ???   

Yoko Ono can apparently do whatever she likes - when you have vast wealth you'll always be able to surround yourself with fawning admirers who wouldn't dream of telling you how exquisitely awful your 'art' is.

And Yoko certainly isn't the first:

1. FLORENCE FOSTER JENKINS

Florence Foster Jenkins was born in 1868 and made recordings in the first half of the 20th century. She wanted to be an opera singer from an early age, but was discouraged by her parents and later by her husband. Yet she still pined for the stage, and after filing for a divorce and securing an inheritance from her father, she set out to build her career. She performed a handful of concerts in New York, Washington, and Newport, where the audience was filled with loyal friends who encouraged her to pursue her dreams, as well as curious music lovers who felt compelled to witness the carnage.

Jenkins could neither sing on key nor keep a rhythm, yet she loved performing, and her recitals included a number of elaborate costumes. Later called "The Diva of Din," she shrugged off laughter from the audience and less-than-stellar reviews, attributing them to jealousy. There is no evidence that Jenkins ever gave less than her best efforts. Many who knew the charming musician refused to discourage her as she led her deluded but happy life as a famous opera singer.

Jenkins avoided Carnegie Hall for most of her life, but finally booked it in October 1944 when she was 76 years old. Tickets sold out weeks before the show, and she was enshrined as the worst singer to ever play the venue. She died a month later, still oblivious to the mocking reality behind her fame.

..........hang on a minute, did you write floutwounds ???

Everyone knows that only trainee prima donna guitarists can use these.

Full on prima donna guitarists then move on to flouncewounds.

13 minutes ago, xgsjx said:

Isn't this what groupies are for?

Thankyou, I was just finishing my breakfast...

Anyway, how would this work in practice?  Would you have to keep disappearing backstage between numbers ?

I think a small tin of Vaseline might be quicker and less demanding...