bassjim

This gave me some serious gip at first. Still does. Just when I think yep got this , there's another little great run I haven't quite got. we gig this now and it took me some 6 weeks of constant practicing it before it was even close but...its getting there. This guy in the YT clip has it really sorted. You have to detune half a step to play in record key. We are lucky that our singer actually wanted it up a semi tone so i can play it in normal tuning.

I like this one

I like Sting. I like his songwriting. I like his bass playing. I had to learn "every thing she does is magic" for a dep gig, and found its not half as straight forward as I thought it would be. Lady Gaga covers "lose My Faith" and sings at his birthday bash. If you like Sting from a distance and haven't heard these I can recommend. Both performances I think are really good but they also , for me , highlight Stings ability as a song writer. As a bass player he may be underrated in this sea of fretboard mastery, but if he was simply the session guy on his records, his playing is always exactly the right bass part. I also think he has more mastery of the instrument up his sleeve but has no need to do it just for the sake of it.

A long time ago I was introduced to another bass player at a party and we got talking all things bass. We had similar interests in music and he invited me round for a bass jam some time . On arrival there was a very nice Wal sitting there . It had an ebony fingerboard but the fret markers on the side were where they would be if it were fretless. An easy fix really. He said he wasn't happy with it and was selling it for £300.00. I stupidly didn't buy it because Warwicks had just come into fashion and we both really wanted one of those. My point is the bass was genuinely owned but the seller had no interest in it and wanted to move it on. Which he eventually did for £300.00. He really wanted that Warwick Thumb! So it could have been the best bargain of my life and if I saw a Wal at a car boot I'd have been in there like a shot. If it had been recently nicked from a musician then I'm guessing the FB muso pages would be full of "stolen gear..." To the OP. Its yours , you bought it in good faith. If it were me I'd be braggin about it at gigs...."yeah so got this for £50.00 at a car boot....amazing eh?...anyway so this is my EBS amp. Found it in a skip ect ect" Show us a pic. If anyone claims it was theirs then they need to prove it. I have a catalogue of pictures of me playing my Jazz bass at gigs, rehearsal rooms, the occasional studio on FB, other social media like Youtube, its in family pictures at my house in the background. I mean it wouldn't be hard to prove it were mine but it would be very hard to make a claim if it wasn't. I believe you bought this in good faith and think its above and beyond the call of duty to want to reunite it with the original owner so good for you. I personally wouldn't! Show us a pic!!

Prince

This is not a band. Its a bunch of people that like the idea but have no real time for it. One of them has no transport (that's been a huge debate here) and the fact that he has to rely on a flakey member highlights my point of view on this subject alone. I bet if they all got in a room right this very minute you would probably be the only one that has learnt all the material. It looks to me like you may never know if I'm right about this one so I can safely hedge my bets. I would keep it friendly with them but actively seek out new people. If one of them is ok and has no issues or dramas lurking in the background maybe that's one less new band member you need to find. It sucks looking for new band members and getting a start up going and even then it can take months and months to get just a set together, but persevere. Its got to start somewhere. If you want something doing properly...

Been back on a 4 for about ( I think) 8 years now. I decided back then that I'm happier here and just had to admit that to myself. I would use a 5 again if the gig demanded it but really don't see the point of making it hard work if I don't need to go down to a low C. I detune the E string for D and Eb and adjust my fingering accordingly which works for me. I used to think the exact opposite regarding the go to, 4 or 5? question and was firmly in the 5 camp. Maybe in time I'll go back the other way but if say I won a competition for a free bass from a bass builder like Overwater,Goodfellow, Status,Sadowsky ect and I got to chose what ever I liked......it would be a 4 string.

The older I get the more I find everything he did mindblowing. When I was younger I didn't even realise that most of the players I liked were copping him. I didn't get that first solo album at first either. But as time has passed and my musical tastes have expanded and changed I find I now "get it". When I came in at about 14-15 years old I was very much into level 42 and thought fast slapping and anything with loads o notes was the coolest of cool. Its a teenager thing perhaps. I thought things like Chinese Way were all things that Mark King had come up with off the top of his head. Mark has later on said that he was trying to roll Stanley Clarke and Jaco into one thing which when you listen to those early things is now very clear. But Jaco.... For me its, musically speaking, sonic works of art. I hear something he does and just think wow. I don't necessarily want to learn how to play it all note for note but the influence without a doubt is there in most things I play. On a gig I might chuck in a little something here and there that is so Jaco but at the same time I couldn't even pretend I'm on his level. I never will be and neither will the majority of players that actually do like him. But I do get it and it floats my boat so to speak. I think its ok to not be bowled over by it and I'm in no way saying that anyone hasn't got good ears or taste just because they don't like it or get it. If I play Jaco solo stuff like Donna Lee or Weather Report to my wife and she gives me a blank look. I play her "I Can Dig It Baby" or "Come On Come Over" and then its oh yeah this is good.

I find sometimes its a great plug and play room and sometimes its not and sometimes its somewhere inbetween. I have a mental tool box of "try its" . Some of these rooms require I add more. Something like an extra cab, pre-amp pedal plus some eq-ing and in some the answer is to take away. Some of its band dependant too. Like the drummers volume and attack, guitarists volume and proximity to me ect. Not wishing to teach anyone to suck eggs and this is not a solution but if any of this helps anyone, here's a few things I try. . During a gig, if you are standing right up close to your cab, before you adjust anything on the EQ, try stepping just 4-5 feet forward. The difference can be quite a lot. You may already have a sound you are happy with but don't know it. If its good standing here and you are able to, stay here. Alternatively you may be able to suss out what you have too much of/ not enough of. If you have a two pickup bass, even if just using the back pickup on its own goes against your instincts, try this. It may be perfect with the band playing. If its an active bass, turn everything flat, turn the amp up loud to gig volume and start from there. The difference the eq has between playing loud at gig volume and practice at home are huge.

Hard to add to some of the positive things everyone has already mentioned so for my 2p worth...... What our last drummer did wrong was a mixture of the following; sometimes all of these things at the same time. Bad timing, not learning the material, not knowing the material, lack of dynamics, no real idea of tempos, insisting large kit goes anywhere and everywhere regardless of lack of room, wrong feel, not practicing at home, using band as a cash cow, argumentative and/or awkward if any of the mentioned reasons brought up in conversation, unable to communicate on a musical level, musically inexperienced, musically immature. We got dragged down to his level till we had enough. The deps we have used since, and what looks like our next permanent drummer display the exact opposite of the above. Couple that with some of the good points listed by others here and that for me is what makes a good drummer regardless of the style of music.

Some years ago, (30ish) one of my friends was working as an engineer at The Gallery studio in Chertsey. This was at the time property of one Phil Manzerera of Roxy Music. In the office and on various parts of the building there were the gold and platinum discs for record sales not just by Roxy Music but artists like Cliff Richard and the like. All had recorded those works here at the Gallery. Apart from the odd session I was given (its all about who you know) I was frequently hanging out there as we used a lot of the down time for free to construct our own masterpieces. It dawned on us that at some time or other not only all of Roxy Music but also the Cliff had probably at one time or another used the bog for a dump. And now so had we. Does that count?

I got some strings cheaper than normal. Not a lot cheaper but enough for me to buy 2 sets in one go. I'm so moneysupermarket ect ect

This year we have gone for £1200.00 on the basis that its not worth our time and effort to go out for less. We went out and out for a cold and corporate event at a venue we don't like playing to the point we will avoid, and were surprised to not only get the gig, but get our asking fee with the arrangement that its all paid up front. None of our usual pubs would entertain paying that amount. Between playing to a nice full pub for half that and the NYE gig we are booked on, I'd rather do a happy and packed pub for less but I am but one member of the band and the general consensus this year was "take the money." We can't guarantee a pub is going to be packed, plus not all in my band would be happy to take just £120.00 each for NYE. We have done NYE in pubs the last few years but we have had disappointing turn outs. We have asked for £800-£1000, and its been a bit embarrassing asking for the lolly at the end of the night. Weather the poor turn out is down to us, the pub, the landlord charging on the door ect I don't know, but seeing as we do ok under normal circumstances the rest of the year, we have gone for take the corporate pound this year. I think a fair amount is to ask a pub is for double what you usually get. If its busy and a great night , you had a great gig and the landlord made some cash. If its half empty its an easier pill to swallow for the landlord when handing over the cash. In a previous band that practically guaranteed a packed pub whenever we played it was never that busy on NYE. The pub wanted to charge on the door/ in advance. People would say, why pay more when we see them every other week for free?

I think Rob is just brilliant. (shes very good too!!) but as bass players go Rob is just head and shoulders above the crowd. Thanks for posting

Ahh....sorry if any swear words offended anyone. I was relying on the profanity filter!

The guy was definitely bullying you. I've been here and know that feeling well. When its a band thing , for what ever reason, this ,(bullying in bands) gets an easy ride. I've been where you are now . Good for you for walking away. From what you say the guy was a ****. I was in a band once that I loved so much and didn't want to leave but the stronger personality waded in and took over, influencing the others. Completely ruined it. Emotionally it really hurt as I had put everything into it. I remember feeling bereaved and angry at the same time. Like someone had died. That build up to the point before you finally quit....not pleasant at all. Its so much more personal when its original material that you have either written or been part or writing. Personally, although right now perhaps your angry side of it wants to be destructive, I'd leave anything you have done with the band on tape. Leave it all behind and take the higher ground. Dont sink to that level. I have received over the years royalties for material I had written or played on with that old band of mine and now its very much in the distant past. I wouldn't have pissed on one of them if he was on fire at the time but its very much water under the bridge now. (20 years ago now!) Good luck with your new ventures and hope they work out for you. No matter what age, and I dont mean to be patronising, its all still experience which you take to the next thing. What doesn't kill you and all that. The old band will probably fizzle out now all by itself and most likely because you're not in it anymore.

The working mans social club gig. We pretend we do not know it. It waits patiently. It knows we will come. Eventually. And it claims us in the end. The shame. The despair. I've done a few of these now over the last 5 years. Not really the scene I imagined when buying my first bass at 14 ..

nope can't top that

I was going to put this in the how was your gig last night but thought although its been talked about before here, its yet another why oh why and how is the stupid person in charge allowed to be in charge moment, that I would like to share with the class.... Its an essay I'm afraid..... So this venue.... We played here in the summer when, there was a big beer festival thing going on, it was a hot sunny day, it was a day time event and the place was packed. We went down really well. But that was then and the circumstances were what they were at the time. This Saturday night just gone however was a complete disaster. Its a Pub/ restaurant in the middle of nowhere with just a small village up the road. Very nice food, well served. This is the venues strong point if you ask me. The venue has one big dining area where the stage is located and no bar. The pub part with the bar in is in a separate area of the building that can not be seen by the dining area, nor can we be heard from the bar unless we play very very loudly. Anyone that wanted to, or might of liked to hear the band was in the bar , and the diners, in the big room with us, wanted to talk amongst them selves, not listen to a band of any kind, and enjoy the food. We were told to start at 9pm and so we did ,but played very quietly and politely and tried to not irritate. Which we clearly were . People in the bar that wanted to see us, would gingerly hang about at the entrance to the dining area but feeling uncomfortable and probably thinking this was perhaps a private do shrugged off. There was nowhere for them to sit anyway, as any free tables that were available were laid out for potential dining customers. Could they sit there, couldn't they? No real clear indication from the venue what the score was there. What happens if you want another drink? Go and get another or wait to be served? Who knows? Do the staff know? No they are not sure either. Best go back to the bar area then.. Anyway, as soon as the last irritated diners, and probably the by now cant wait to get going nominated sober drivers , had up and left (about 10pm) we played to the last hand full of drinking punters ( 6 or so) that had till now been hiding in the bar area. They were enjoying it. The room had a bit of a private exclusive feel to it now. Just them and us. But by 10:30pm their pre arranged taxis (arranged whilst bored in the main bar) arrived and off they went. Apologising for leaving early but thanking us all the same. By 11pm the whole place is , bar the bar staff and 2 punters, empty. Completely empty. We pack up the gear and in turn proceeded to empty the till by £400.00 plus 2 free drinks each , as agreed in advance. So.... I guess that's the end of that with this venue. Chatting to a member of the very nice bar staff before we left, we were told that this was the worst last couple of months they had ever had. I wondered if it had anything to do with putting bands on. It would make sense. If only someone in the management could work it out. Band in the pub. Dinners in the restaurant. Deflating experience.

Me on my own= 2 mins. Rest of the band = 40-60 mins on average. Some of this set up time could be a lot quicker if individuals were more organised with their own equipment (leads ect) and forward thinking in terms of what to set up where and when. It would speed up break down time too. But..... Live and let live I suppose. They all seem happy enough with it so I just let them get on with it . I'm not supplying or doing the PA so I think its best to let them own this important territory. I will of course always help with moving things and plugging in whatever I can. I wont be happy to stare at others making an effort even though its both amusing and painful to watch. Like a silent comedy routine. However... I honestly think some folks kinda enjoy this setting up process and even seem to like making it hard work for them selves. Like one setting up the drum kit up making sure all cases are against the same wall behind them that another one is simultaneously trying to route PA and power cables through. Prioritising placing the lighting rig stands, complete with now plugged in and working lights, at the highest height setting the poles will allow, right where someone obviously needs to place an amp or stand, necessitating the need to break it down and move it. Making sure an absolute snakes nest of cables is somewhere near the PA so if a faulty cable problem does come up, there will be maximum effort required to find it and rectify the fault. Noodling from the guitarist between set up and gig starts though.......if only this could stop. If only just this one thing could just stop. Just this one thing. Everything else I can live with but the noodling.....

[quote name='roman_sub' timestamp='1509900549' post='3402451'] Try lowering the bass end of the pickups and bringing up the treble ends - that should tighten up lowest notes and also make D and G strings louder. Something like 30 mins with a screwdriver and your usual amp would be time well spent! Suggest you try that first then consider EQ settings, once string to string balance is sorted [/quote] This + 1.

I have recently found sacking a drummer for not having the right dynamics works wonders. All the deps we've used since, (and will now be using again) plus our new permanent drummer have all been just great. Not one has had the same too loud problem and none of them need anything inserted into any orifices to help control lack of dynamics. I haven't since needed to use more than one cab and the overall band volume/balance is nice. We have found that providing the gigs are there , there are an extraordinary large amount of very able and competent drummers around. If we wanted to we could quite happily carry on gigging all next year by rotating and sharing gigs between 4-5 of them. We could get one of them in for a rehearsal for development purposes such as new material or arrangement changes, record it onto any thing as simple as an iphone, and share that with all deps. Compared to the last guy with not just volume problems but other drummer related offences, this is all easy peasy. Tell him about that. That might help turn it down.

I play mostly over the back pickup and favour it over the front. My action is fairly low too as that makes it a lot easier to dig in. My pickups are angled with the E string side low and the G string high. You have to muck about with this in rehearsals and between sets at gigs to get it where you are happy with though. Once you find the right balance its very much leave it alone from there. At very low volumes and on its own, the G string can sound overly loud but in the band context its just right. The compromise however is you might have to adjust your touch when playing over the front or between pickups but I think it becomes obvious and natural over time as to what you need to do. You still have the option of dialing in the front so if anything this is another string to your bow. String gauge is a matter of personal choice. I've bounced to and from 40-100 to 45-105 depending on my mood. If any of that helps..

Whilst playing in a rough pub, my wife was asked by a punter if she was with the band. She said yes, she was with the bass player. The punter replied "which one is that?" Oh how we laughed. Apart from that, I've met most of my past girlfriends, friends in general, band mates new and old, enthusiastic audience members that piss on you in the bogs whilst telling you you are the "best fackin bassists they have ever seen in their f***in life mate...ah f***in mean it...apart from this geezeer that was in er a few manfs ago...but I tell yer wot you could be a fackin pro ect ect", my ex wife and my amazing new wife all whilst getting on with it playing gigs.

[quote name='gary mac' timestamp='1508834138' post='3394646'] Don't think it's the fault of that particular site, more that there are an awful lot of delusional dreamers, who think they want to be in a band. [/quote] This!