JTUK

[quote name='blue' timestamp='1422553092' post='2674053'] Good argument. However, I think you can priorities all you want. I have seen it way too often. When there's a conflict every band does not always have a substitute bass player waiting in the wings and one the bands has to cancel or decline a gig. And that means somebody gets paid and others don't. I don't want to be involved in that sort of thing. Blue [/quote] The money is less important than the gig but yes, I want to be paid, but I'd put a good band before chasing the $. Any band can get gigs and travel for them and that is their choice, I just want a very good band that I can be proud to promote. The better the players, the better the gig and I have no problem going for fees that the band deserves... I have more of a problem if the band isn't good enough to justify those fees, With any one any good, they'll be in demand at some point, and despite people saying first come, first served, nobody is stupid enough to try and hold them to it, if a blinding alternative, prestigous gig presents itself. Of course, they'll go..as would I, so I don't pretend otherwise. My latest project will have 2 or 3 guys out on 'tour' this year... and I have to make my project attractive enough for them to want to do as well... but I know the project will lose out to their other commitments IF they clash. They may or may not so it is worth the effort to try. Lets see if I can pull it off and then I'll let you know whether I think it is worth it.

If the drummer has a good groove, I'd stay out of it.. or do a minute question and answer type thing, but stay out of the way, mostly

[quote name='blue' timestamp='1422422950' post='2672411'] I think I said I don't see any respect from young musicians, however I'm not really looking for it. I'm interested in what young performing rock musicians are doing, thinking and why. They, on the other hand are not really interested in what veteran players are doing, that's their choice IMHO. Age doesn't entitle me or anyone else to anything, agreed. Blue [/quote] A common problem I see...and this may be indicative of the age we live in.. is you get a young group and they think they are the bees-knees but that thought lives exclusively in their head. If they took the time to listen to any critique, they would have a different reference, and instead of sticking to their own little narrow bubble, could work off other ideas etc etc. When I was 17..which is considerably younger than the guys I am thinking of.. I went and joined a function band which could pay me to work it full time. Living at home, I didn't need THAT much, but I thought I was good enough to work with them. I may even have had a sneery attitude abouit one or two playing abilities, but I LEARNT LOADS from people who knew more generally about the way these things all work. The playing thing I could look after..as I'd got the gig, but the ability to read a crowd was an eye opener as was all the songs that I had to learn and I'd never heard of. It was WAAAY out of my zone, but I am glad I did it. It certainly burst my bubble and I put myself into those situations a few more times and got a few roastings..but the thing is, those roastings teach you. A few yong guns, I come up against have no idea and at 25, that is ok..they have potential. What is a waste is when they haven't moved a damn inch at 30...and that is wasted, IMO. Music is a constant learning curve so the biggest single thing I'd say to a young player is 'ditch your mates and move on'.

[quote name='tauzero' timestamp='1422455511' post='2672891'] Or maybe it's playing with horns that gives you that aversion. [/quote] It wouldn't be to me...and I don't have a preference to any key. I do like a sax in the band, but it can be hard to justify the work AND cost a horn section of even a sax can be, for what they bring to the band. But if you do jazz gigs, you are certainly going to get horn keys thrown at you.

My Klotz cable leads are a lot smoother than an alternative that my studio guy..who makes them.. gave me. He was annoyed with Klotz as he had a duff lenght of cable, so he got another cable supplier, ( can't recall the name ) and that is quite stiff and rigid by comparison, and he soon went back to Klotz. All his studio is wired out with the same cable and I would never call it rigid or stiff by any stretch..

I normally pick the songs or type of songs I want to puruse and then go pick the band/players to do it... Works best for me...

[quote name='blue' timestamp='1422491418' post='2673474'] Yeah I think that would make sense for some. Me, I'm not looking for any opportunities, I lucked out 3.5 years ago and found the perfect band for me.Those that have followed my threads,Know it's no secret that I have always been and will always be a [i]"1 band, the right band" [/i]kind of guy. Also it could be a generational thing. At times I even think gigging is a generational thing. I have yet to get an answer to, [b]how does anyone play in more than one band without gig conflicts as in most gigs are on Friday and Saturday night. I would say 90% of the time when I ask these guys how they manage to be in , lets say 4 bands. The story is usually only one of the bands is an actual money making gigging band the rest are non-gigging bands.[/b] Blue [/quote] People are very good with a diary but they will also have to prioritise. Some might say a diary and gig in it is one thing and they'll commit in principle to a date but if something comes in that they have to take, you are going to have to be quick on your feet and make alternative arrangements. You know the level of 'commitment' at the offset and you decide whether it is something you can manage. Some people can and some people can't but I start off from the premise that anyone any good is going to be busy and that is something you have to cope with... because they are too good to pass up..etc etc .. or their leads/opportunities could become your leads..??

Haven't got a problem with the ad in anyway and the website makes it clear it is her band. All good. The only think I would have to make sense of is the standard of gigs and band and that needs your local knowledge. I think a pretty face and nice stage personality immediately gets the guys on side..less so the women, but not a problem apart from a girl almost always needs a guy lead vocal in a cover band, IME. The main issue is how good are they pitching for and how good can they expect..?? Anyone any good round here almost always has other bands or priorities so whilst you can get a great lead singer, they are going to be busy elsewhere and probably have a touring and/or writing commitment which means they put those gigs first. If you don't, can't, wont aim for those, then you are on the next rung down along with everything else that comes with it. Just found a video... that would put her in the local pub circuit round here and as a novelty girl lead with a quirky presentation..based on one video, they'd do ok. I assume they would be looking a gtr/lead vox.

[quote name='chris_b' timestamp='1422314495' post='2671194'] I have a different take on this. The band is playing for the audience, I'm playing for the band. What the audience notices isn't my main concern. My job is to fire up the rhythm section and drive the front line, with the aim that we can impress the audience. I know audiences hear me loud and clear because they tell me but I have to make it work for the band. Root notes or not, the band has to like what I play. A pat on the back from them means good job done. [/quote] This my take as well... we've all got notes, but the trick to get them noticed and I don't necessarily mean in a flamboyant way... it is give it some attitude. And that isn't about volume either. "Same notes, same chords, but NOT like that..."

It is all about getting out there and doing it, AFAIAC... Good job...

[quote name='chris_b' timestamp='1422442034' post='2672599'] Me too. On a 5 string bass there are always other choices. I love watching keyboard players squirm playing numbers in C# and even F#. My first 2 bands were Soul/Funk/Blues bands with 3 and 4 piece brass sections, so all keys are the same to me. [/quote] The beauty of a 5, Chris. Get the key an off you go...it matters not what it is. I 'avoid' open strings so I am always fretting the combination I am playing so it doesn't matter if it is a shift up or down. And then when you do use an open string..that brings more drama and presense to it then..IMO I like the look of some gtrs faces when you use flats for horns... that always sorts the men from the boys.

Re-running now on Ski Arts...the Melbourne concert. And Blackmore is just so off it...he sounds awful. Pretty much ruined the concert all on his own...IMO

Would definitely hang out for a Markbass 210... The 102 is pretty capable so unless you have gigs now that need it, I'd keep piling up the pennies from the gigs..

[quote name='DiMarco' timestamp='1422435943' post='2672488'] Ordered myself two Mesa Powerhouse 1x12 cabs. The 2x15 can be a lot louder then actual FOH systems in medium sized pubs which is really too much. Hanging on to that cab as well though as it just looks too damn sexy when paired with my Trace AH400SMX. [/quote] Will be interested to hear Mesa's 112 cabs... As for too powerful a sound, this is very pertinent and one of the good things about class D, IMO.. you have the volume but it lacks the power...and this can work better in smaller places. I am often aware that I may have too much amp for a pub when ruuning non class D, Funnily enough bass players in the audience love it when the walls are 'shaking' but the drummers don't..they've turned green

[quote name='LukeFRC' timestamp='1422383650' post='2671994'] its an awful photo but thats generally how the series 2 stuff is build - you might not have the prettiest cab but you have one of ther best engineered bass cabs ever designed, and its built like a tank. [/quote] I've had a pop at other cabs being a lash-up as well, so just being consistant in the regard.

They are all notes on the fretboard...personally I avoid open strings otherwise they are all fair game.. If you have an adversion to F and Bb etc I guess you don't play with horns much..??

They should hire Bobby Vega..he can do it all. But the fact is... you go to any bass shop and the guy playing the bass will be showing off his best chops... and slapping 90% of the time. If that is how you demo your kit, then so be it. Personally, an online demo is just that...doesn't mean a hill of beans until you play it yourself.

Yep... the guys who runs it tries to get each stand-in doing 3 numbers at least. It all seems pretty fair which is why I'll go back and invite more people I know as well. I tend to use it to check out a few people I'll be in playing situations with... and get a feel for what they do.

[quote name='LukeFRC' timestamp='1422363432' post='2671599'] ? [/quote] I understand it is well worn, and hope a lot of the way it looks is retro repair work...??

[quote name='blue' timestamp='1422344137' post='2671300'] Yeah, it was a harsh comment. I don't even know what a [i]"Katie"[/i] is. That was me being an old grump. You know, [i]"these young whippers don't know nothing"[/i] remark. I'm very intimidated with these young talented whippers. And I [i]"aged out"[/i] on several opportunities and it's tough to come to grips with. I know I had a lot of respect and interest in older musicians when I was young.[b] I personally don't see that respect from many younger folks today.[/b] Blue [/quote] They'll wise up when they play with you on a bill tho... and if they don't get that lesson, they'll likely never get it.

[quote name='Pete Academy' timestamp='1422308551' post='2671088'] If you play cover songs with specific bass lines, do you think the majority of the audience would notice or care if you just root-noted everything? [/quote] Don't care... I'll play it for me. I'll get enjoyment making it work. Never too concerned about the audience and what they may or may not notice. Getting them there is the problem.

I would replace a bridge if it appeared a more solid connection...and the adjustment on the saddles was good. Never been a fan of the old Fender plate, myself, but if it worked in the set-up well, I'd keep it.. especially on an older bass. And if I did replace it, I'd keep it for when I sold the bass... My 70's Jazz had an awful cheap plate with soft metal fittings.. it was truly [email="cr@p"]cr@p[/email] but I kept it as these things are original..

Wow... that Acme lash-up takes some beating...

The one I've been to a few times, mirrors obbm's. Well run by a very respected local blues guy and he kicks the evening off with a few numbers with the house band. It is on a monday night and gets a far few punters in as well as a decent turn-over of players or a varying standard. Sometimes a band will gate crash and use it to 'introduce' themselves to the LL but they'll only get 3 numbers. I wouldn't say this evening encroaches on the live scene as it is a monday and it is also a network exercise but the pubs who put on audtion night are more guilty in that regard. I have less of a problem with thoses as they serve both ends, band and LL, and the better ones will throw some cash at the try-out band if they get people in. That, basically, is what it is all about anyway. It just depends how people go about it and perceive it as to whether anyone is taking the pee... Oh..the house band is always paid by the LL..and not from tips...so a full time musician might like the idea of 'earning' on a tough to gig night.

Hardly a problem and I think you'll learn to use the fingers and tuck them out of the way as you play more. I can't see the pic so am going on the video mostly....and as long you can return the finger to the required position efficiently, it is almost a minute problem if this is what bugs you most...??