Franticsmurf

The first band I was in had Gong, Steve Hillage and Hawkwind as the headline influences. Back in the late 80s there was some interest from the student population, but not enough to sustain gigs and we reluctantly moved away toward mainstream rock.

'otong, surely? 😃

The Hulla played an 80th birthday party in the local village hall last night. The potential for getting the setlist wrong was great as we didn't know what the demographic would be. Fortunately, we have a range of tunes on tap but as it turned out we found the right mix with the initial selection of songs. It was a small hall, there were around 100 people there and everyone was handed a glass of Prosecco as they walked in, so the atmosphere by the time we squeezed on stage was pretty good. Unsurprisingly there was dancing from the first song and for every tune thereafter. I was using IEM and my mix was great. The stage was very cramped (there was a plan for getting everyone on and off!). My B6 was under the cymbal stand where I had to stretch my foot to tap the switches without kicking over the ride cymbal. The saxophonist on front of me was occasionally stepping on the mic stand leg, so I had to anticipate him and move my mouth away from the mic to avoid impromptu dental work. I played my Ibanez EHB1000s as any regular scale bass would have been brushing up against the curtains at the side of the stage, or slapping the guitarist on the back (I don't play slap style 😃). Overall a most enjoyable gig without the pressures of the drunken city mob. An earlyish finish and the birthday girl really enjoyed herself.

I use a Bespeco expression pedal connected to the 'Control In' jack on the B6. This is assigned to a 'Master Volume' which sits as an effect in the patch. I don't know of a global option. You could achieve the global volume control using a volume pedal in the signal chain.

"No, it goes like this..." Yes, I've fallen foul of that one too! 😃

The Hulla has been booked to play a wedding anniversary function in Port Eynon on Saturday. We're a 13 piece and the hall is, so I'm told, quite small. I've brought out the headless basses as I know that the space I am allocated will make a full sized bass fairly impractical. I care about my fellow musicians and whilst the occasional 'accidental' tap is sometimes tempting, it's never acceptable. 😃 Fortunately I go through the desk with this band, so no back line to worry about and I should be able to shift the monitor speaker to give me a few more inches as I'm using IEM. The set list appears to be a random list of songs but quite a few are requests from the organisers as they know our full list of songs and have been able to pick and choose. Along with such gems as 'Then I Kissed Her', 'Running Bear', 'Sweet Caroline' and 'Mary Lou' we have 'Get Your Rocks Off', 'I Fought the Law' and 'A Town Called Malice'. We cater for all tastes! Saturday's instruments of torture:

I'm sure something could be arranged once the new set arrives. I'm all for bribery research and the new kit knowledge it brings. 😀

Thanks for your understanding interpretation. 🙂 I agree that wireless is a privilege but, ladies and gentlemen of the jury, the reason I first purchased a wireless system was that I went through a period of having to deal with drinks spillages (occasionally mine, but often other punters) and I liked the isolation it gave me. I think the 5.4ghz is necessary as it should prevent any interference from my bandmate and the other guy in the band using a different brand of radio transmitter. I'll be replacing it with another Lekato. I'll be making the purchase this afternoon and I will, of course, abide by the decision of the collective. But for the time being I am still in. Just. 🙂

I'm teetering on the brink as I need a new wireless set up. The Lekato WS80s I've been using for a couple of years are playing up intermittently when a bandmate uses her set (different brand but visually the same unit and set to different frequencies) and I'm considering a 'replacement' (technically an upgrade as they'll be the 5.4Ghz ones). In my mind this is a replacement of a bit of kit that no longer works as intended, however a ruling would be appreciated before take the plunge. 😃

A slightly different take on your list for me: Playing with a group who have clicked and are enjoying the gig,taking and giving energy to the other band members (and therefore the audience). A good, responsive audience. Good sound (which feeds point 1). A great venue (and that includes the attitude of the staff) and a good set list all contribute to the great gig but I can overlook all but the worst of venues and load-ins if the end result is good. I think when the band is in the groove the audience pick up on it and you can get a kind of feedback loop that takes the gig to a different level.

I've gigged my B6 and I'm happy with it. It has two footswitch selectable inputs which might be ideal for your set-up. But if all you're after is a simple bass tone with a couple of effects, some of the less costly options mentioned above might be more practical. The MS60b is great as long as you don't mind sequential cycling through the effects (it worked live for me). I've used the Behringer BDI21 with an EHX Clone chorus, and the Laney Digbeth preamp gives a clean sound or nice tube simulation that is selectable with a footswitch.

In any line up it's usually stage left for me - mainly so that I'm not clouting anyone or anything with my headstock. It's also easier to turn to look across the band for the same reason. In a trio, I'm level with the guitarist in front of the drums. If space allows I'll do the same with a 4. By the time we get to 5 there's usually not enough room and I'll be besides or slightly in front of the drums with the three egos in front. The Hulla is usually a 13 piece and I tend to stand stage left next to the drums in the back row.

Yes, talk it through. Let him know your concerns and maybe you can come up with a solution that works for both of you. He may well be thinking along similar lines. At the very least it gives him an opportunity to raise the issue with the BL with the knowledge that you feel the same.

I've met Mr Mandrel. I claim my fame by once removed association. 😃

A productive rehearsal for The Hulla last night. We usually agree on a core set before our gigging 'season' and play through a selection of it each rehearsal night along with working on any new songs or changes to previous arrangements. We'll add material from our reserve list as required by the expected audience. Over three Sundays we'll usually cover the full set plus three or four new songs. Last night, apart from a couple of warm up songs, it was all new things. Four completely new songs, two new arrangements and a key change. It's rare we play through songs several times in a row (we usually play through once or twice and then break it down into the problem sections if there are any) but we played the new stuff three or four times each last night which gave me a chance to try out different bass lines. We're playing a wedding anniversary in two weeks where the demographic will be older then our average audience, so some of the older 'easy listening' toons will be aired next week. 😃

Like this, you mean? I used to use it in a duo. Both necks are fretted though. Edit: Just found this in an unrelated search.

I prefer a 4 mainly because of my small, un-bassplayer like hands. But I have a Sterling 5 and I used it last week in rehearsal. The Hulla have a wide repertoire and there are a few songs that benefit from the extra string so I thought I'd experiment. We are finalising our core set for the year and at the moment there are only 3 (from about 40) songs that work better with a 5 than a 4. So I'll probably stick with the 4 unless I can negotiate an opportunity to swap basses mid gig (the BL likes to keep going so we don't lose the energy but he also likes to talk to the audience so perhaps I can work something in there.) I fall in and out of love with the Sterling - it's been up for sale (with no interest) and its been gigged.

A duo gig on Saturday with the BL/singer/guitarist. "Where is the gig?" - "Oh, you know, big house on the Marsh Road." There are many big houses on the 'Marsh Road', (which is actually called Culfor Road). "What are we doing?" - "Well, I'll bring my acoustic and we can do some songs. It'll be fine." No, it won't be fine if only you know what you're doing. "What's the gig?" - "18th birthday party." Your solo/duo songs are not suitable for an 18th birthday with, by definition, 18 year olds making up most of the audience. - "They'll want to play some songs themselves." I hope they bring instruments, then, as they're not using mine. I am very tempted to cry off this one. Edit (after Neepheid's reaction): Explained to the BL that there were so many unknowns that it would be better if I wasn't there so he could do his solo set (which is far more varied than anything we could seriously attempt as a duo). Gig off. Anyone need a bassist/guitarist on Saturday? 😂

Yes, 'twas he. I do it too where it's appropriate.

Lots of good advice. For me there's three things: - Pre-gig nerves are about the unknown and by definition there's not a lot you can do about the unknown. So be generally prepared, know the basics (ie the set list). I make crib sheets up for the songs I'm not sure about - they're basically simplified chord charts (or detailed set lists) with only the bits I'm not sure about written in as a prompt. I don't expect to sight read from them. - On the night nerves: As has been said above, the rest of the band think you're good enough, so you must be, but it sounds like you haven't accepted it yet. Its a jam session so there will be mistakes but let them go. Most people will be concentrating on the folks getting up to jam so you won't be the focus. And most non-musicians will not spot bass mistakes. Once you've made a couple and realised its ok, your confidence will grow and you'll be able to... - ENJOY! 😃 Good luck (And don't forget to let us know how it went).

I depped for a mate's 'band' several times. The band was actually a three piece (guitar/guitar&vocals/vocals) with backing tracks and no bassist or drummer and I was asked to play bass as the guitarist couldn't make it. As the BL also played guitar and shared vocals with the female singer (who played acoustic guitar of a few songs) it all seemed under control, if not a little unusual, but he was a mate so I was happy to help out I used the gigs as a means to try out my new speakers, a new pre-amp and a couple of basses I hadn't used live before. Several songs into the second half of my third gig with them the backing tracks system (a laptop) crashed and we were left on stage with me playing bass and the female singer singing. The BL, strumming away on his Strat and looking cool was revealed to be completely muted with no sound coming from his amp or microphone. Our bass (with some improvised fills and runs) and vocal duo completed the song, the BL realised he had to step up and we finished the set with both of them playing guitar. It was my last gig with them and the trio folded shortly afterwards. The money was good, though!

You should do it - as has been said you'll regret it if you don't. And think of the thread you could start here. 😃

This is the over riding factor for me now. The band as a whole should genuinely be having a good time regardless of the performance. The audience will pick up on that whether they realise or not. I've had a few compliments over the years along the lines of 'you looked like you were enjoying that', which to me is job done. But part of the enjoyment for me comes from knowing my part well enough that I'm not working hard at playing it. So I'll put the effort in behind the scenes so I can relax during the performance.

Early in my live playing career I thought the same. I practiced endlessly and never thought I'd reached the level of skill to play live, let alone perfection. I fretted (pun intended) about every mistake I made and cringed at every botch-up of an arrangement made by the band. But the BL at the time explained that most audiences wouldn't notice and/or care if there were mistakes, missed verses, wrong words etc. Sadly, he was right and for a few years afterwards I didn't make the effort I should have, using his explanation as an excuse not to practice or learn specific parts for songs and the repeat bookings as evidence that it didn't matter. To my shame! Then I discovered the joy of 'making and effort and getting it right', which coincided with a new band. Now I don't care if the audience care or notice. If I (or my bandmates) notice, then it's an issue that needs to be addressed.

Usually it's bass of choice into the B6 along with an mp3 player loaded with the songs I'm learning into the aux in, and headphones. If I'm trying a new sound/patch I'll plug in to an amp and cab - usually the TCE BAM200 and either a TE 1x10 or my homemade 1x12. I'll wait for the neighbours to go out before turning up the volume.