musicbassman

Thanks for this. I'd never heard of her. Lots of clever thoughts, concepts and ideas.

Ah! - so here's the guy who's turned up for the audition with the blues rock pub band. I don't think this is going to go well.............................

If you're just looking for something practical and not beautiful you could consider a biggish Portacabin. Best for security is the builders site cabin type with metal shutters to close over the windows. There's plenty advertised on ebay. Then factor in transport costs and a mobile crane to lift it over hedges, gardens, outbuildings etc. to your chosen location. Did this at my place a few years ago. cabin was £1500, transport £750, mobile crane £1K. It's a 'portable building' so you may not need PP Mind you, don't consider this if you have close neighbours and you want to use one of these for rehearsals, sound insulation is very poor. Hope this is useful.

Blimey! Looks like you raided Granny's button box...... (successfully!) I must try this...................

This is so obvious, surprised it isn't the norm. Quiet enough to talk over, advising of arrangements, middle 8's etc. I worked through a 2 hour set of '60's covers with a band I was going to dep with a few months ago in exactly in this way. Had it done and dusted in about 3 hours. No noodlings or time wasted, everybody happy.

This. It's so great to hear of positive buzzing gigs like this when many seem immersed in doom and gloom.BrunoBass, can I ask what sort of material/covers you're playing?

Well, at least he's cast as the villain, not the hero. He's behind you!............ boo, hiss, etc.

.................if that was the case, I really wouldn't bother going to the audition!

This is all fine and dandy, but often - particularly if you're auditioning for a job in an already long established covers band - the song has gradually morphed over the years into something rather different than the original - this especially applies to the rhythmic feel of the number. You can start playing the original bass line and it immediately clashes with the bands current rhythmic interpretation of the number - although they'll claim they play it 'just like the original' This can also be a problem if you're doing a one-off dep gig with no rehearsal time - they'll start playing the number at a function and you can't understand what you're hearing - sometimes the number is almost unrecognisable until the singer comes in - takes you a moment or two to simply get the feel, meanwhile the band are giving you dirty looks.............

Here's a few things to consider when pricing- How good is your band compared to other similar bands available in your area ? (no, honestly) Were you recommended to the client? Are you booked up most weekends or are there big gaps in your diary? How many in the band? Just playing for dancing or putting on a big showband style presentation? How far away is it? (Time and fuel) How long are you going to have to be at the venue? (Lot of hanging around at some gigs, many hours sometimes) Direct or through an agent? First class buffet and drinks provided or a packet of crisps?

This absolutely, and the same should apply to any bass part - no matter how simple it might appear on first listen - there's always something to hold your playing attention, or there should be. Prime example - Higher and Higher - (Jackie Wilson) - just one repeating bass pattern, but so many people seem to play it sloppily or with slightly the wrong feel!

That statement you made contains all the information and job description necessary for your drummer - It's a covers band? = YES So you're going to be playing popular covers that people know, so you get gigs? = YES So are you going to play shoegazey obscure album covers? = NO! No band can demand that punters stay and listen to the band's personal favourites, they'll just vote with their feet. And there's no fun in playing to an empty room.

Gibson EBO bass = A 1950's Bentley or Daimler - never mind the speed, feel the smooth ride!

........recently left Pentangle tribute band - didn't fit in.............................

................understands the Circle of Fifths..................................

Bass player, very experienced mature ex pro. Currently depping with long established 60’s band in Surrey, this due to finish end May. Looking for further dep work any style Sussex, Surrey, Hampshire, or a permanent position in top quality well established functions band, ideally 20 - 25 dates a year, or would consider job share with another bass player if much more than this. Absolutely reliable, good appearance, good ear, very quick learner. musicbassman@hotmail com

I've had exactly this issue recently with a band I'm depping with - it's all straightforward 60's covers but line up includes two guitars plus keyboards, drums, bass, vocals - we've been squeezing onto fairly small stages lately and this means I have one of the guitarists amps right next to my bass rig. Both guitarists are very very loud and the drummer is possibly the loudest drummer I've worked with in a while - result is that I really have a problem hearing myself - but roadie says bass is plenty loud enough out front. I'm having to work by eye on the fretboard sometimes rather than my ears! The bass tone is very nice when isolated, so that's not the issue - quite a bit of the bass is pick playing also, so I think there's plenty of definition there. Maybe it's just having the guitarists amp so loud and so close that it's dominating what I can hear, and maybe you were in the same situation? Next gig I'm going to raise my cab up about 40cms by putting it on a heavy box I have - I'm hoping this will help a bit. Top of the cab will then be chest height rather than waist height as at present.

Wow - the ultimate humiliation - being pulled off stage by your Mum! He's not a singer, he's just a very naughty boy..........etc.

Well, we've all experienced the dreaded 'hollow stage' effect where the whole of an insubstantially built stage is acting as a giant resonating soundbox for the bass and sending out all sorts of false information to your ears about tone, volume and harmonics. Some bass players might claim that putting castors on your cab (i.e. the same as a dolly) can really exaggerate this unfortunate effect. Personally I don't think this alone would make much difference, but other BC'ers may have different opinions. Discuss.

Half from the Jazz, and half from effects used judiciously and discreetly, I would say Always like listening to this guy, he's a master of fluency and precision.

Serious respects to you for doing this - sounds like very hard work.

Thanks for the heads up on this casapete - nice one.

...........audition two bass players at the same time?????????????? This is truly just about one of the most bonkers things I've ever heard. Muppet doesn't even begin to describe this guy.

Yep, this is so true. And, at an audition, NEVER tell the keyboard player he's playing a wrong chord - even if it's clearly wrong. You'll never get the gig - you're a threat. And always look for the positives in any of the players in the band you're auditioning for - a couple of gentle favourable comments can work wonders. "Hey, Mr drummer, I like the way you didn't speed up in that number" Wow, that guitar solo was REALLY loud - I love it when my ears bleed like that!"

Cue a very old muso joke: How do you know when it's a drummer knocking on your door? ...........the knocking speeds up.