Cantdosleepy

It is Club McGriff, but it wasn't done on the pretext of pay-to-play. The singer is dealing with it - should be okay.

[quote name='wateroftyne' post='356053' date='Dec 16 2008, 03:09 PM']If you paid him, why is he shoving his oar in? It's nowt to do with him, surely?[/quote] Indeed. That's what we're trying to explain to him...

[quote name='Adrenochrome' post='356044' date='Dec 16 2008, 03:03 PM']If you booked the venue yourself why is there a promotor involved? (apologies if I've mis-read your thread)[/quote] Good spot. The promoter runs Fridays at the Dry Bar. We payed him to have the evening.

We've got a gig (my last with this band) on Friday at the Dry Bar in Barbican. We booked the venue and paid to use it for a private function, giving the cash upfront. Our band and two mates' bands are playing. We've sold out all of the pre-bought tickets. We're doing DJing and other stuff. All looking good. Just found out that the promoter has added another FIVE acts to the night. Three are full bands. He's given them half hour slots - starting times of 19:30, 20:00, 20:30. Given all the prepaid private party bands will want a soundcheck, and given we're all adults with adult jobs so won't be able to get to the venue before 6pm, this isn't remotely possible. Private function, mate. Grrrrr. Etc.

[nerding]Nice site, mate - very simple and easy to navigate. Did you use an off-the-shelf CMS?[/nerding] I'll download yours if you'll download mine - [url="http://www.goodoldneon.com/"]http://www.goodoldneon.com/[/url] - also totally free.

[quote name='budget bassist' post='349869' date='Dec 9 2008, 04:30 PM']Regarding the music industry, you can make it elsewhere, the guy that produced/engineered the last two arctic monkeys albums and the last kings of leon album managed to make a good name for himself without being in london. He has only just gone to london, and i think he said he managed to buy a flat there while keeping his old house too, so there's definitely opportunities to be had elsewhere, you'll have to work hard for it but it's doable. As other people said though, the majority of the music industry is based down in london and it would probably make it much easier to break into the industry by moving there, though times may be hard for a bit if you don't have a secure income. I want to get into the music industry too (as a bassist/guitarist or a sound engineer), and i plan on moving to london too, it's just something i want to do and that's probably the best place to do it. Just my 0.02[/quote] I agree with thes in part, but have to raise the 'anecdote' flag. The whole "But [person who became successful] did it [in a non-reccommended way]" argument is based on some pretty flawed logic and can be used to advocate all sorts of unwise behaviour. You hear about the one success and not the hundreds who did the same [non-reccommended way] and found a ceiling. Some people would have made it wherever they were. Some people got lucky due to circumstance. Maybe if the man in question above had moved to London earlier he'd be King of the World by now. As people are saying, getting contacts is vital unless you get extremely lucky. and youre more likely to get lucky where there is a higher population of musicians and/or people looking for musicians. Being in London can't hurt. Leeds will still be there in five years.

Two - my first bass and my main bass. It's too many, but I can't really let go of the machine I got when I was 16.

Cheap bass will be fine for now - if you're thrifty you don't need to worry about getting a nicer bass until you're in bands that are headlining. Maybe not even then. I played recently with a Peavey Milestone. It didn't sound fabulous, but nobody in the audience is actually listening out for how warm/punchy/defined the bass is sounding. It's almost a better idea to play with a crappy bass for a while longer - when you do upgrade you'll know more about what you like. You only really need to worry about being loud enough. Maybe keep an eye out for a second-hand Peavey 115 TNT? Something that's loud enough to gig with, that's near bullet-proof, will be fine for the short-medium term. There are two parts of the bass hobby - bass playing and bass gear. The gear side of the hobby is fun and interesting, and buying the right things WILL make you sound better if you know what you're up to, but all you really need is a workable bass (and the GSR200 is certainly that) and a loud enough amp with working EQ. Depending on where you live maybe this fella: [url="http://basschat.co.uk/index.php?showtopic=33318"]http://basschat.co.uk/index.php?showtopic=33318[/url] Should be loud enough to do small gigs, and by the time you get to bigger places you'll be able to use the venue's PA...

[quote name='bremen' post='342878' date='Dec 2 2008, 11:53 AM']We have a long way to go but we're a long way from feudalism :-)[/quote] But I still get Prima Nocte, right?

My epiphone LP is a lovely little weapon. Had it for about ten years, still going strong.

When people ask me what I play I tend to say: "I play bass. The gentleman's instrument." The drummer calls me a failed guitarist every month or so, usually about 65% in jest. 40% if I'm trying to use an effect. I strongly prefer simple basslines to technical playing. Worrying about this stuff is all insecurity. Answering accusations by mentioning technical players is a futile excercise and encourages the thought of bass as either being 'super easy' OR 'chin-stroking time-signature-changing w***ery'. It's all cool.

Some stuff by Gang of Four would be good. At home he think's he's a tourist.

[quote name='BigBeefChief' post='326629' date='Nov 11 2008, 11:44 AM']There are those that (probably pretend) to like it and those that think it's utter sh*t.[/quote] The word 'to' should be inside the parentheses in this sentence, champ. Here to help.

[quote name='bilbo230763' post='325977' date='Nov 10 2008, 03:15 PM']When a jazz soloist is playing, they are taking part in a dialogue that is determined by their own contribution but is equally defined by those of their bandmates. If I play a phrase, the drummer may punctuate it, he may not. The piano player may echo my phrase or complete it with a phrase of his own. He may create a counterpoint; he may ignore it entirely and put in something that jars completely against it. Whatever happens, there are a complex series of choices being made as every second passes about who is playing which notes, chords scales and rhythms. A good jazz musician is listening to everyone of the musicians he is performaing with at all times, something that is actually mentally very difficult to do. A simile I have used before on this forum is it is like the difference between a speech and an conversation. One is easier to control and is pre-determined while the other can lead you almost anywhere the contributers want to take it. This is what makes jazz a high risk activity compared to most mainstream rehearsed music styles. I could go on all day about this (and probably will) but, in terms of 'a different way of listeing', I guess I mean that you are listening for something unusual instead of something familiar.[/quote] Yeah, I find jazz intimidating for all the above reasons. Glad there are those who like it, though.

I agree with Luke - the funk is in the funk.

[quote name='bilbo230763' post='322784' date='Nov 5 2008, 04:43 PM']Like a great swing groove, its indefinable but, when you find it, its the BEST feeling. Its the 'magic' bit, the bit you can't buy, the bit that all the lessons you can every have and all the gear you can ever acquire won't make happen. Its the thing that some people have naturally, on the day they are born, and others spend their life making futile efforts trying to find. Its why Jeff Berlin isn't Aston 'Family Man' Barrett. Its why Steve Bailey isn't Steve Swallow. Its why Neils Henning Orsted Pederson isn't Ray Brown. Its soul. Its groove. Its the point where man and machine are operating in perfect harmony. Its why Michael Brecker and Bob Berg aren't Stan Getz and Paul Desmond. Its why Simon PHillips isn't John Bonham. Its why most people don't like jazz and why most jazz doesn't move most people. Its why Louis Armstrong is greater than Wynton Marsalis and why Slash is better than Yngwie J. Malmsteen. As Louis Armstrong once said 'if you have to ask..., you'll never know'[/quote] I think this is a pretty good description. Except for the bit about jazz - jazz and notjazz both have equal pocket opportunities. Nice one Bilbo.

Guitarist's car broke down near bromley and he just went home. Yep, the hypothetical became pretty actual last night. Had a chat with the singer and the drummer. Gonna have a pub session next week where we'll discuss the future of the band. I'll go tab my parts out this week and record the bass bits solo to help the new guy. Lovely to meet you Wayne. Your setup sounded good - nice and punchy with excellent definition when you were doing those tidy little solo fills. Good stuff.

I kinda agree with Outshined - I like other people using my rig (after I've had a brief chat with them to make sure they understand the pre-and post volume juggling business) as I get a chance to hear it from the audience and work out how I can better use it myself.

[quote name='OldGit' post='318841' date='Oct 31 2008, 10:07 AM']OK Plan B Wayne and his band mates stand down the front during your spot wearing "Your bass player is leaving" T shirts ,,,[/quote] Nice. To further this tale of sedition and double talk.... So the bassist from this hypothetical band told the singer that we was thinking of hanging his bass up for a while. The singer said that the guitarist's been a bit iffy on the whole thing for a few weeks - don't think he can afford to keep hiring practice rooms etc. They decided that instead of having a practice next week, they'd have a pub session to discuss the hypothetical future. Wayne'll be able to tell all y'all whether the tension onstage is visible. But yeah, the two of us are sharing a bill this evening at the shooting star in Liverpool street - [url="http://www.fancyapint.com/pubs/pub785.html"]Shooting star on fancyapint.com[/url] It's free entry. Come and watch the (muted) fireworks! I'll be dressed as a skellington. It'll be good to get some 'chatters down...

[quote name='bremen' post='316692' date='Oct 28 2008, 01:39 PM']so they won't recognise you?[/quote] 'cos I'm ugly like a barrel of old salmon.

BassMunkee wins the thread. Except, of course, it would be: stop, unplug bass, switch amp off, unplug amp, put amp and bass leads in bag, put bass in bag, put head in bag, zip up bass bag, put bassbag on shoulder, heft bass cab into arms, stumble off the stage. There would be complete silence for about twelve seconds after I stopped playing, then 'Mate, what're you doing?', then a punch to the back of the head.

Cool beans. Looking forward to Friday!

[quote name='waynepunkdude' post='316478' date='Oct 28 2008, 10:01 AM']Would you like me to announce it on stage for you? Save you some hassle and it would be novel[/quote] Seems you and The Funky One have similar branes.... Guess I have to tell them now, though. Would be poor form for them to be playing with another band who's bassist knew the score - like when a 'mate' is always tellingyou how he's going to break up with his girlfriend but never does so you're super-awkward around the whole situation.

Pub meeting would be ideal, but sadly not possible. We're all busy and scattered - we haven't actually ever met up when it wasn't a practice or a gig. And now the guitarist is not going to be there this evening. Thanks for all the advice, guys.

[quote name='waynepunkdude' post='316209' date='Oct 27 2008, 09:52 PM']How about don't do it before Friday as your band is bringing the drum kit and I really don't wanna get ours out of the basement [/quote] Ha! I don't think we're headlining, actually - we're slated to be on at 20:45. My singer's sorting this one out - I'll have a word with him later and see what the chat is.