The Funk

[quote name='Pbassred' post='350204' date='Dec 9 2008, 09:35 PM']We all play along to tracks. Some times its to copy, and other times its to see what we can come up with. [...] What do you do? figure out the chords? jam a bit until you get something (not a fan personally. It'll just sound like me and I won't learn anything.)? Learn it exactly? What its your approach?[/quote] Depends on what I'm after. If I want to copy something I learn it exactly. If I want to noodle, I just noodle over it. If I want to deconstruct the song harmonically, I figure out the chords. You can't just have one approach unless you only care about one of those things.

I don't like it. I prefer the term phrasing for phrasing. But there you go. Guess I'll have to go change wikipedia!

[quote name='mcgraham' post='358577' date='Dec 19 2008, 09:24 AM']I would say that's [i]exactly [/i]what dynamics is... I would say dynamics is playing with the ebb and flow of the song, intensity, loudness/softness, speed, arrangements etc.[/quote] I agree with Alex's comments. I think what you're describing is what being a good musician is all about - a bit broader than the concept of dynamics.

[quote name='OldGit' post='358620' date='Dec 19 2008, 10:39 AM']All you have to do to switch the power from the promotor to the band is pull 200 punters every time you play. Then you call the shots and they ask you nicely when you'd like to come back and do it again.[/quote] We get that now. But seriously, in London's top toilet circuit venues you don't need 200 punters (they wouldn't be able to cope with that anyway). You need 20 to get booked back and if you ever get close to 50 they'll keep hassling you for years - you'll get your way through several generations of bookers - and if you ever get over 100, you'll be their golden boys. [quote name='OldGit' post='358856' date='Dec 19 2008, 02:48 PM']So stop playing those venues or the P2P nights .. As Dangerboy says, put your own nights on., cut out the profiteering, do nothing promotor. Simple ...[/quote] Agreed. The maths is really simple. At The Water Rats, for example, they'll charge £8 on the door (even though it says £6 on their website and you'll have agreed that with the booker - who doesn't appear on the night and whose colleagues in the venue have seemingly had no communication with him about anything). You start to get £1 per audience member after your band has pulled in the first 15 or so for nothing. You get £2 per audience member after you've pulled in 55. So, if you get 45 people (which for them is very good), you'll earn £30. If there are 5 of you in the band, that's a whole £6 each! The venue will have taken £330. If you'd put on that night yourself with 4 other bands, each sharing the cost of hiring the venue - and let's say that venue costs £500 to hire out for the night - then your band, charging £3 less on the door (so £5), would take £125 in profit, so each member of your 5-piece would take home £25. The reason Sleepy's situation sucks is that he went for Option 2 and got shafted with Option 1. I've done enough Option 1 gigs. Not doing that anymore, no matter how often they call.

From my earlier post I might have made it seem like I'm not a Jaco fan. I am. But that solo was not a solo. It was an incoherent series of widdles. I know a few people have said that a lot of great instrumentalists' solo material is not usually very good but I think people should check out Jaco's first album before they check out anything else. It shows a broad range of him as a bass player and composer. He wrote a Sam & Dave R&B number, a funky fusion number with Herbie Hancock with a great string arrangement, some Latin things, a few innovative bass compositions (that sound cool because of the notes not just the technique) and played a Charlie Parker tune on bass. Even if some things just don't really do it for you (Donna Lee does nothing for me, for example), there still should be things you like. It's a very cool album but the ones that made me realise how much of a groove monster and rock player he was were a series of 4 live CDs. I'll dig them out and put more details up here later

[quote name='steve-soar' post='358295' date='Dec 18 2008, 09:11 PM']Bi Polar disorder, incredible stamina, a musical knowledge of unimaginable proportions and thinking that you are it and a bit = Jaco.[/quote] Latino R&B bass player whose two musical idols were the most important rock guitarist in history (Hendrix) and one of the two bop masters (Charlie Parker). So add Latin + R&B + Rock + Jazz + Bass + Electric Guitar + Brass to the equation. Not really impressed by the clip tbh. Bit of an incoherent mess (with a few goodies but not really).

I was talking to a guitar player today who I play with supporting a female singer. He likes to do that rubato stuff but it doesn't tend to work if there's a bass player there as well. We also had to both adjust to playing a bit more on the beat as he tends to prefer playing behind (sometimes way behind) while I prefer playing very slightly ahead of the beat. In my own band, I play slightly ahead usually, our keyboard player plays slightly behind, our guitarist plays rigidly dead on and our drummer very occasionally loses his sense of where the beat actually is as a result - and either speeds up or slows down. This is the danger with messing around too much with where the beat is - even for experienced musicians with great rhythm and good time. Personally, I don't think any of that really counts as dynamics. Dynamics is a bit more specific IMO than just altering the feel or intensity of a song.

Looks great!

[quote name='alexclaber' post='357792' date='Dec 18 2008, 12:21 PM']I used an Acme Low-B2 for years for rehearsals, and then a pair at gigs. Glorious sound, just needs a fair bit of power to get LOUD. More recently it's been The Compact (my own superlight 1x15" design) which despite being a single 15" is punchier than the 2x10"+5"+1" Acme (though it doesn't have the same prodigious and unparalleled lwo frequency extension) and despite weighing only 32lbs is loud enough to handle remarkably loud gigs on its own.[/quote] I tend to gig with a pair of Acme Low-B2s myself but have used The Compact in rehearsal. It works for me! Loud and light.

[quote name='neepheid' post='357122' date='Dec 17 2008, 04:24 PM']It sounds like a libel case waiting to happen. People (in general) can't be relied upon to keep their cool and stick to facts when they've just been mucked about by some promoter or other.[/quote] Even if people are rude and abusive where's the libel in "this guy is a twat - don't work with him under any circumstances"?

Will add my review in the new year!

[quote name='Cantdosleepy' post='357109' date='Dec 17 2008, 04:15 PM']Is there somewhere on this site where we've got 'promoter feedback'? Would it be worth doing? It would be a good resource for somewhere like London, with the same old faces and lots of us playing there.[/quote] Very much worth doing and I'd like to see it as a sticky.

Great post, Jase! Very cool double interview/workshop from Bailey and Berlin. Cool guys!

Good good. On the night just tell him that none of the other bands are playing OR you are taking back your money AND all the money generated at the door. And if he refuses, kick the sh*t out of him and then piss on his bloodied mouth while he's lying unconscious in a back alley. You know, if you decide the letter isn't working.

[quote name='Cantdosleepy' post='356038' date='Dec 16 2008, 03:00 PM']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.[/quote] Sue him. If you want I can write a threatening letter for you. I can't sign it though - you'd have to sign it yourself.

Love the inlays! Same pick-ups as my Infinity SN so it should sound pretty damn good! Enjoy!

[quote name='jakesbass' post='119397' date='Jan 13 2008, 08:59 AM']as for it not sounding like that live, record it to be sure you're not kidding yourself[/quote] I'm a weird one: tight in the studio (where everything's nice and clear through the headphones) but meandering onstage - until I hear it back recorded and can't see what I was worrying about. It doesn't matter how good your time is - it can always be better. And it gets worse when you haven't been actively working on it for a while.

Not really sure what you're asking. I go louder and quieter when I think the song needs it - I normally lead that side of things onstage, trying to support the singer as much as possible. One thing I tell all the guys is that the turn-around on any sequence is the place to take it up a notch or take it down a notch, and I'm trying to get the drummer to mimic whatever rhythmic thing I do on the turn-around to either increase or decrease intensity. Apart from that, I tend not to play every note as loud as each other. I tend to accent or camouflage certain notes 'cos that's just how I like to phrase things. Everything grooves more that way, I think. Are those the kinds of things you meant?

I had 6 lessons in 1999. I'm still processing all the information. My teacher went from teacher to mentor to friend. I prefer books though, I have to say. Books + Teacher + Playing with musicians better than you + Listening to classic performances + Messing around on your own + Gigging + Jam Sessions = the ideal.

[quote name='Born 2B Mild' post='352791' date='Dec 12 2008, 03:16 PM']I find FX are great ...at home. I plug them in when sound-checking at a gig, and when the rest of the band gets going, I realise they get in the way.[/quote] The only thing I'd add to this is that all my effects pedals sound great in the studio - they record really well and do exactly what I want them to do. Live, it's a different matter. I set my pedals up to sound great through my cabs - I can't control how they sound out front and a lot of the time the notes just become indistinct (from what I've been told afterwards). I do like gigging with my Mu-Tron III though. That tends to work nicely and stay clear.

Thanks for the comments guys. Very helpful. Keep them coming.

I did a test run of some 2009 Foolish Earthlings Calendars (all very tasteful, nothing too saucy ) to see how they look with a view to giving them away to anyone who wants one. I was wondering if you guys ever give away merch rather than selling it as a bit of a promotional tool. (And I was also wondering if anyone would like a free 2009 F E Calendar - PM me).

[quote name='wateroftyne' post='352957' date='Dec 12 2008, 05:58 PM']Hmm.. that's three definite 'No's on my little checklist. Run away![/quote] Again, what he said.

[quote name='crez5150' post='352931' date='Dec 12 2008, 05:36 PM']Depends...... if it's playing in front of the decision maker at EMI/Polydor/CBS/Atlantic....etc..... then yes..... if it's some piss poor pub in the 'burbs... then no[/quote] [quote name='wateroftyne' post='352936' date='Dec 12 2008, 05:39 PM']1) Can you do the songs justice? 2) Will it benefit the band? 3) Is the money any good? Two out of three and I'm there.[/quote] What they said.

I'm being facetious but seriously, there aren't that many good bassists here.