jonny-lad

I think that riders are a good idea for weddings or functions. Not so much to demand loads of extras, but just so you know what's going on in terms of getting fed and watered, and in terms of dressing rooms etc, especially for the badly organised gigs...same goes for using a contract for times and fees though. I try to make sure I can get these types of things sorted myself wherever possible so I know what's happening and that nothing's been overlooked. I guess for anything that's not in writing though, you'll get what you're given, which is usually not alot, IME! Per diems are nice if you're on tour, but I've only got them out in Dubai, where the beer costs a fortune. Food isn't too bad though, and taxis are really cheap. Sometimes I do gigs where I get really well looked after, like The Jazz Festival in Leeds, where we got as much food and drink as we needed and all the beer we wanted and really nice dressing rooms underground at Millenium Square. I stayed well after our set too and kept getting the free beer right to the end! I was playing guitar on that gig though, but the bass player was just as well looked after!

I'd probably refuse to play the gig unless it got sorted. You shouldn't need to be sorting it out on your own and if you turn up to the gig with an idiot drummer who hasn't realised he needs his drum kit to be able to play it, you'll look like a tw@t because you're associated with him. Seems like it's been made clear to him what the situation is, so if it's about other people using his gear, he should've refused the gig or worked out an alternative IMO.

[quote name='bilbo230763' post='612017' date='Sep 29 2009, 02:30 PM']the bandleader had the hump because I didn't play the parts 'as per the record' (should have prepared charts then, shouldn't he ).[/quote] Couldn't agree more - doesn't sound like much of a bandleader if he wants that level of accuracy from a dep but doesn't have the initiative (or is just plain too lazy and arrogant) to prepare charts! Back on topic, always keep your eye out for any cues for endings, stops etc, and try to work out early on who is leading the band the most so you know where to look and who to follow. Chord charts or cheat sheets are generally acceptable, IME, but it's always a good idea to check beforehand and try to make sure they aren't too intrusive - a music stand in the centre of the stage at face height probably isn't the best way to use them...much better to keep it tucked away to the side, just out of view of the audience, if possible.

[quote name='Geoff' post='608618' date='Sep 25 2009, 01:32 PM']Should I play a bassline following the chords and then record the tapped section over that?[/quote] This could be a good way to go. It's amazing how much different recording is to playing live - often things can sound great live, but then kind of weak and maybe a bit pathetic when recorded. IME, overdubbing parts like this is quite common when recording. For an example, Jaco Pastorius overdubs some parts on Joni Mitchell's Hejira. Compression could be useful to keep dynamics even, but I'd think it may be quite intrusive if you had to use loads to bring the volume of the tapping up a lot.

[quote name='Bassassin' post='605183' date='Sep 22 2009, 12:12 AM']The "Electric Bass" as you're defining it is indisputably the EUB[/quote] IME, electric bass is often used to describe electric bass guitar, especially in genres/situations that can involve doubling on both electric bass guitar and double bass. ie. Acoustic bass would be the double bass (regardless of whether you use EUB or acoustic double bass) and electric bass would be the electric bass guitar. Outside of those specific genres/situations where these terms are commonly used and accepted as adequate descriptions, it can seem over-generalised in that acoustic bass could be double bass (or even EUB, despite the fact it isn't acoustic, as double basses are generally amplified anyway), acoustic bass guitar, tuba, and electric bass could refer to electric bass guitar, EUB, synth bass, hammond pedals/left-hand bass. In this case, a more specific description would be needed, rather than just electric or acoustic bass. Having said all that, the standards ie. double bass and electric bass (which was initially a fender bass) both have 4 strings, although things have changed more recently and much more music is written for 5-strings, which is why some people now consider 5 to be the standard...There are even 5-string double basses available.

My main bass is a 5-string, but I rarely go below the range of a 4-string and my only other bass, which I keep as a backup, is a 4-string. The main advantages for using a 5-string, IME, are that I don't have to retune to play below a low-E (like for a song in drop-D on a 4-string), and 5 strings can also reduce position changes, which can be really useful if you're reading, for example. AFAIK, most theatre pads are written for 5 string bass nowadays, and an extra low-B also helps when working with awkward singers who like to transpose things all the time! I chose to get a 5-string because it gives me the extra versatility if I need it...I'd still love a (4-string) Precision with flatwounds though - just can't afford to have loads of different basses, so I stick with something that offers the extra versatility just in case.

I bought a Little Mark II and a Warwick 411Pro from the bass centre a year or a year and a half ago. I'd done quite a bit of research and, having struggled to find much info and user reviews on the Warwick cab, I decided to phone them and found they were very helpful. I think it helped that I'd done my research, but I think it helps if you research whatever you're interested in before asking loads of questions and, as I phoned, I could get an instant response to anything I needed to know. I even had a couple of problems regarding speaker cables (which I couldn't work out), as they missed it out at first and I tried the cab with speakon cable from some monitors I have, not realising it was wired the wrong way, but they were very understanding and helpful and sent the speaker cable promptly after I spoke on the phone to them. I think sometimes it's a good idea to phone places like this, as you can always get an instant response and speak to a real person. Once they've spoken to you, they have a good understanding of who you are and what you're after and they'll know how serious you are about what you're interested in, so there's something in it for them aswell as you. It worked for me - I got some good gear at decent prices and I always knew what was going on...Certainly beats waiting for e-mails!

[quote name='thepurpleblob' post='598590' date='Sep 14 2009, 07:40 PM']Ok... I've listened to Naima on YouTube now. Nope... random notes. Not fun to listen to. I'm a philistine I suppose [/quote] Naima is a great tune IMO. If you can find the live version where Eric Dolphy takes the solo on bass clarinet, it's well worth a listen...I found it on one of the cheap CDs you can get in HMV called 'John Coltrane Plays it cool.'

[quote name='Major-Minor' post='598355' date='Sep 14 2009, 04:18 PM']Beautifully put Sir ! The Major[/quote] +1

Really really annoying! It's not so bad with drummers who know when to let loose and can do their bit...it's the ones that have no discipline to play a solid beat when that's what is required. It's the same with any instrument though - if a musician can't find the discipline to play a simple, solid, appropriate part instead of messing about with their favourite chops and fills, then IMO, they're not a good musician...or even adequate, regardless of their technical ability! Never sacked anyone for it, but I've avoided bands, refused to join bands, and I try to avoid going to see bands where I know the drummer is like that.

[quote name='skankdelvar' post='594873' date='Sep 10 2009, 04:43 PM']Show me a guitarist who plays quietly and I'll show you a bassist in disguise. [/quote] I'm a guitarist who plays quietly...although I've been playing far more bass than guitar for at least a couple of years now!

[quote name='The Funk' post='593527' date='Sep 9 2009, 02:24 AM']He tried gigging with a 120W Matamp head and two Marshall 2x12s but it was just too loud. The height of the Matamp/Marshall stack also meant that his cabs bled into his vocal/talkbox mic on small stages, and then his monitor would also sometimes reflect into his cab mic and vocal mic, creating a swirling mush with additional highly directional, piercing icepick sounds coming from his cabs if you happened to be standing in the wrong part of the crowd.[/quote] That's the main issue with playing too loud IMO...I'd rather compromise by turning down a bit to get a good sound, instead of constantly fighting problems that are (or at least can be) easy to rectify. [quote name='The Funk' post='593527' date='Sep 9 2009, 02:24 AM']For Foolish Earthlings, the 6W Cornford works brilliantly. For our doom metal side project, the Matamp is the ideal head - but different, less directional cabs would be great. I find the Marshall cabs to be piercing straight on (although it's probably not a uniquely Marshall phenomenon). I know SRV had diffusors fitted to the front of his guitar speakers so as to make the sound less directional. They are available pretty cheaply online but I'm not sure how effective they are. If they really work and mean that guitarists can hear themselves while not standing directly in front of their cabs, I think everyone should use them to avoid volume wars. Not sure what you can do with a basher of a drummer except for to stick him on a smaller kit. They mic up so much better than the big ones![/quote] The guitarist in one band I play in uses a Marshall 4x12 and it's more directional than any 1x12 combo that I've ever used as a guitarist - he's taken to leaning it back so it points at his ears, as he could never hear his vocals well enough in the monitor along with all the guitar he had in there, as well as having to turn the amp up louder than it should need to be. The onstage sound has been loads better since we've been able to free the monitor mix of too much guitar to leave space for the vocals. We're no quieter out front, but we can clearly hear everything we need to onstage now!

[quote name='jimijimmi' post='583576' date='Aug 28 2009, 02:22 PM']what money is involved? usually when i see that "its a great opertunity for a young bassist" i generally get the vibe theres no money.[/quote] +1 IME, if there's some money invested in the musicians, they'll use more experienced ones, although not neccessarily old. Still worth having a go to see what things are like though, IMO - you can never tell which adverts are worth responding to until you answer them and meet the people involved...just don't pin all your hopes and dreams on the one opportunity.

[quote name='thunderbird13' post='587345' date='Sep 2 2009, 12:08 PM']When you advertise make out as if you’re the next big thing and the phrase “ Major label interest “ must be used in the advert.[/quote] Always worth remembering that auditions can work both ways - you need to impress the candidates enough for them to want to join your band after the audition. You may find someone who is perfect for what you want, but if the band doesn't live up to the expectations they have based on the advert, you could struggle to convince them to come back. IME, it's good to be really careful how you word your adverts - if you haven't had things like major lable interest, there are plenty of other things you as a band can offer, like the opportunity for creative input, writing, lots of gigs, money (although i realise this doesn't apply to all bands) and the social aspects of a band...I'd never answer an advert that doesn't appear to offer me much and I've always been really put-off by bands who have answered adverts I've had by just telling me what they want me to do without offering anything. Whilst it's important to sound impressive, it's equally as important to live up to it and be impressive to avoid putting off any potential candidates.

IME, it's always good to give people a few options of which songs they can learn - maybe a couple that they definately need to learn and then their own choice of a couple more of your songs. You might find that if someone is eager and proficient, they'll learn the whole lot and save time later (if they suit the band well enough to join). I've done this a couple of times when I've auditioned for bands who have provided me with plenty of songs/recordings in case I decide to learn more than they ask for...I've always been a bit put off if there are only a couple of songs for me to learn, as it might suggest there could be loads of rehearsals rather than just keeping the band going the same as it was before but with a new bass player. [quote name='Low End Bee' post='586572' date='Sep 1 2009, 03:15 PM']and Roland jazz chorus combos. Ever heard the distortion channel on one of those? A wasp in a tin can sounds better.[/quote] bit OT, but I use a Jazz Chorus (JC-90) as my main amp for guitar - never use the nasty distortion, and rarely the chorus, but it sounds awesome clean and suits pedals, as it has such a transparent tone!...never met anyone else who uses one for guitar though.

+1 for Peavey gear - rock solid and reliable aswell!

[quote name='sdgrsr400' post='584094' date='Aug 28 2009, 10:08 PM']A perfect example of more is less. A brilliant first album with just piano/voice/drums, each successive album has less original music and [b]more producer-led "stuff(ing)"[/b] [/quote] Best description I've heard for what some producers do!

Charlie Hunter Trio...does it count as not having a bass with the 8-string Novax that he plays - 3 bass strings and 5 guitar strings? It's pretty unique and impressive either way, and well worth checking out! [url="http://www.charliehunter.com/"]www.charliehunter.com[/url] Lots of Hammond organ trio stuff is good too like some of the Pat Martino stuff, such as 'Liva at Yoshi's.' Joey Defrancesco is a great Hammond organ player who covers the bass incredibly well.

[quote name='YouMa' post='582091' date='Aug 27 2009, 02:52 AM']It just seems like acting to me. The good thing about Jaco pastorius was he invented new things and was a pioneer,if he had copied his dad he would just be some 2nd rate sinatra swing band type so i dont think this is always the right path to choose.i It just looks to me like his son has been honed as some sort of cloned party piece,even his body language and clothing style is near identical to the stuff jaco senior did,just seems a bit weird to me,no doubt some big fat corporate american is behind the scenes somewhere hoping to clean up.[/quote] Jaco's son is the one playing the drums.

I can read alright, but I'm not confident with sight-reading anything other than straight-forward parts because I lack experience on reading gigs, where there is a real pressure to get things right, stay in time and so on. I think the only way to really get good at sight reading is to have to do it under pressure, i.e. in a band, where if you mess it up, you have to keep going. I know my chords and theory inside out and I'm most comfortable reading chord charts, but it doesn't compare to reading dots and IME, if you're serious about learning to read, there is no quick fix - it just takes loads of time and practise.

[quote name='Pete Academy' post='581172' date='Aug 26 2009, 11:35 AM']Er, is that Julius playing, then? Or is it Jaco, and Julius is watching it? [/quote] Julius is playing drums...which was Jaco's first instrument AFAIK, until he broke his arm.

[quote name='mike257' post='579852' date='Aug 25 2009, 09:09 AM'][quote name='Tait' post='579275' date='Aug 24 2009, 05:17 PM'] and jonny lad, i'll definatly only need to mic up one of the speakers? they're the same size so i would have thought so, but my amp only has 1 speaker so i can't mess around with a 2 speaker amp and i don't want to end up getting to recording my guitarist and only mic'ing up one speaker to find it sounds horrible, so i just want to check before hand [/quote] You only need to mic up one, whether it's a 2x12, a 4x12 or an 8x10! Of course, if you want to experiment, there's no rule against covering it with all kinds of mics, but for the simplest, quickest good result, one mic on one speaker is fine. If you start using multiple mics you have to worry about phasing and all sorts of nonsense, I prefer keeping it simple! [/quote] Yep - it's good to keep things simple to avoid things like phasing...I only own one SM57 so I only ever mic up a guitar amp with one mic and get good results with it. It's always good to try a few different mic positions with some rough recordings to see what works best before you record the full track too.

I definately think that using a mic is the best way to record overdriven guitar - I use an SM57 and always get good results. I tend to mic 3 or 4 inches off the centre of a 12 inch speaker, and as you'll have the same sound coming out of both speakers on a combo with two, you'll only need to mic one of them. Double-tracking might be worth trying if you need a fuller sound...it's more work as you'll have to record the part twice, but it can give some great results, especially if you mix two different tones.

[quote name='casapete' post='569789' date='Aug 15 2009, 10:58 AM']Apparently one engineer told me that they prefer using a DI box rather than the amp DI because if the amp fails then they still have a feed into the FOH main PA/monitors etc.[/quote] That's one reason I always use my MXR M80, apart from having consistent tone to the PA regardless of the backline I use, I'll never have to worry about any amp problems affecting the FOH mix. Furthermore, it means I can tweak my backline for a clear onstage sound without affecting the FOH mix.