Bobby Aaron

I agree sir! I'm guilty as well

I bet, we play an instrument that is preferred when when we barely play. Yet everyone else can can venture down the road of self service and musical creativity.

I like this... obviously being a bassist who is always on the lookout to be fired from another band, one of these or a combination of multiple, can cause #6. If its all about you, then this is yet another scale practice for me. Communicate who you are, and what you want to be musically from day 1 and don't waste my time.

Because having that specific gear will speed up the long journey to the middle lol love it!

YESSSS - or a singer/songwriter saying the key on a recording he gave to learn off of us in E, and it ends up being in Eb. Recording, USELESS. Not to mention that those two keys almost completely change everything for a bassist unless you tune everything a 1/2 step down.

Ugh I've had the worst luck with singers in the majority of music projects. You post a "Singer Wanted" ad and you get "people tell me I should be a singer" or a "karaoke champ" at an unpopular dive.

The last one is the best. Neverending solo is the common cliché and yet it seems to be so true.

Hahaha - It would have been weird if after the arguments, they get a case of writers block.

100 bass That is impressive sir! I don't think could do a hundo

Good Morning Everyone, Please Vent! There is a reason why you don't know the name of Etan Embry's character in 'That Thing You Do'. Because nobody cares who the bassist is generally. Of course you can raddle off 10, 15 or maybe 20, but you'd probably have to be a bassist to know even that many. Let's talk about past roles in bands, and some crazy stories that made you either get fired or quit. "I GET NO RESPECT!" Rodney Dangerfield Bobby

You are right sir! I appreciate everyone's insight.

I love all of this feedback guys. Each and every one of you pointed out some great things. The guitarist still has his teeth because he's 23 and I was probably his first act as a "tosser". I had to look the term up. I'm 38, jammed a lot with cats, gigged with a alternative band for 8 years and a couple of projects just for fun. My image most likely wasn't the problem. I'm a stylish dresser but I don't take it overboard, t-shirt and jeans mainly, especially during the week. Mostly I think it is the tension between me and the LG and the fact that I wouldn't give them 100% cookie cutter and I was respectfully assertive about it. Bringing up Adam Clayton is interesting because I love U2. If they would have written "With or Without You" and said write something. I would have had no choice but to play D, A, B, G. My point, I play what I hear, and gave them plenty of opportunities to reject my style and approach. I always approach a style by finding g the closest known musician to easily describe my plan. In this case it was Robert DeLeo (STP) and Nate Mendel (Foo Fighters, Sunny Day Real Estate), mixed with some James Jamerson. All that aside I thought I was an equal part, and some changes we're made based on some of my insight leading me to believe I had a voice, I was able to be creative, as well as giving them what they wanted. Communication is a lost art. I don't read minds and if I try to speculate on body language I might as well not get out of bed in the morning.

I prefer chord charts. Years of worship team

So I did ask for feedback because it was that mysterious. I was told two reasons from the singer/songwriter/leader in so many words, down the road, the tension between me and and the LG wouldn't be beneficial. And, sorry what your playing isn't what we wanted. Your lines work easily but not for us. 1) I had been playing with them since December. After two tryout rehearsals, they asked me aboard. Then played a gig after a month and rocked it out. 2) within 30 mins of playing with them for the first time, lead guitarist says "don't overplay". I didn't react I just thought in my head "already I just met you and learning how you guys play". I treated this gig and respected it exactly like my 9-5, professional. 3) This past month, waited 3 weeks for drum tracks to be done. Finally it was my turn. Before I even recorded a note, days before I wanted to get the situation straight because some beats had changed. Talking to the drummer, I clarified that I have parts written but some ideas I'd like to try. "Oh yea man, please experiment" singer guitarist - "we like that your not a strictly root note player" I said ok let's do this. 7 hrs in to my session, lead guitarist shows, and says "your runs are perfect but your over playing" finally after hearing this 4 times I said I disagree and I think the lines accent everything very well. I went home, messed with just root notes with some of the material and it just sounded dull. I messaged them and said the bass doesn't walk on the vocals or the guitar lines, I'm not sure where this coming from. Did even get a chance to go back and give them what they wanted. Fired the next day.

Do they make a shock collars for millennial lead guitarists???

Thanks Odysseus Gotta keep truckin lol. Hard to find guys that don't want to do stricly covers when your in FREDERICKSBURG, VA So much easier when I was in Chicago.

No, you're right about getting along, and that was a reason unfortunately. However, I went out of my way to get along with every member, even the one there was a minor tension with. So I think it was more that they didn't like me. As far as over thinking, you could be right. In my opinion, the music lacked creative diversity and I thought I could use the bass lines to make it sound a bit more fresh. I wanted the gig though and the member were good players, so I though I could spark some new inspiration. Bobby

Welp, Just got fired from another band. I've been playing for 24 years, HAD TO learn theory because I learned my ear is not my strongest musical quality. My work ethic as far as practice is better than most cats I've played with; however, these attributes seem to only be a very small piece of the puzzle. I know what most of you are automatically thinking. I am are probably overplaying. I feel that way too. But I also feel that I've been dismissed for underplaying. If I'm not practicing, I'm watching videos from Vic Wooten, who states many times that placed in correct spots, even wrong notes work in passing which is usually a walking bass line technique, and of course that doesn't always work for every occasion. I also love Rich Brown and Scott Devine for insight. These guys also teach playing what you hear.. There is also many pro producers on YouTube who instruct staying away from strictly root note bass composition. On the other hand, I've seen instruction that stresses 90% root note. I belive my strongest quality is locking in with the drummer and creating a pocket. So I ask anyone out there, what the heck is the point of learning anything above the E & A string? Bobby