Franticsmurf

But as long as it was agreed by the whole band, I think that would be fine.

I meant prioritise in the short term to cover a specific choke point. But if the choke points become frequent then perhaps it is time to have the difficult conversation? The alternative is either not knowing who will be playing on the night of the gig (if you can get a dep) or cancelling gigs because there's a clash. Neither are good and the latter will ruin your band's reputation. Could it be that some equate 'Blues Band' with 'easy 12 bar covers' and see it as something they can fit in without too much effort? (I should add that it's not my perception.) As you say, 'near enough is good enough'.

I have been in two bands simultaneously because I wanted to gig more than the first band did. I made it clear to both bands the situation and that when it came to gigs, the first gig in the diary got priority. Practicing was never an issue and rehearsals with either band were arranged so far in advance that they never clashed. In terms of motivation - for me it was gigs. Both bands had great people in them and playing with them was enjoyable and fulfilling but the main reason I play is to be on stage. I don't think failing to prepare or practice is a direct result of being in several bands. If I was struggling to manage the workload the first thing I'd do is prioritise based on upcoming gigs but I would also be talking to all the bands involved to explain. I would have to think carefully about whether this was a one-off or likely to happen again and if the latter, I'd have to make a decision about leaving a band to reduce the workload. As with most things, communication is key and the earlier you talk it through the less heated it will be.

Rehearsal rooms with their own weather systems. 🙂

Rehearsed last night with a band in which I'm depping as bassist on Saturday. I always wonder what tunes will be in the set following the assurance that 'it's all standard pub rock stuff'. In this case it was 'all standard rock stuff' - apart from 'YMCA', 'Living Next Door to Alice' and 'My Girl'. And having spent extra time on YMCA to get the disco octave thing going, it turns out they play it as straight rock. But it was a good and productive evening, no messing but not taken too seriously either. We rehearsed in the director's suite of the local rugby/cricket club and I was stood in the panoramic west facing window as the sun went down. So most of the evening was spent with little beads of sweat trickling down my back. I'll be using my Sterling 34HH and, for the first time in ages, backline consisting of 2x TE 1x10 cabs and a Peavey Minimax 600, bypassing the front end in favour of an Ampeg SCR DI.

Musically, I'll try and play for about an hour a day most days - whether it's structured practice, recording or noodling (usually a combination of all three). My main band rehearses most Sundays, and that's about 3 hours of playing. Physically, I'm training for a trek in India this year so at the moment I'm fairly fit as I'm exercising regularly (I'm just back from a morning on the the Brecon Beacons). Our main festival gig every year tends to go on for up to 4 hours, plus I help out with stage management and sound. I'm usually there the day before an the day after to help out with construction and breakdown of the stage and for the last couple of years I've played in a support band on the same day. All of that tends to be very tiring. For the last couple of years I've treated the main gig like a day of trekking - plenty of fluids and energy snacks to keep me going. 🙂 I don't know whether it helps, but I never drink and play.

I'm the same and for similar reasons. The beat drives the song along and the keys add something extra and helps it build towards the end. But oh, that Mandocello in the first video. Such a gorgeous sound. 🙂

I should explain that most of the band (there are 13 in total) are not dedicated musicians - it's a weekend hobby for them and so anything other than 'song-stop-song-stop' is out of their comfort zone. Like you, in previous bands we've always tried to grab the attention of the audience with a few back to back before doing any audience interaction. I think it makes for a solid intro, sets the scene and lets people know that we mean business. But its new to the Hulla band and to be fair everyone has got it. I have 24 bars before I come in and then it's non-stop for the rest of the songs. The drummer, BL, guitarist and I are the core throughout and it's working well. 😀

I have mentioned before that our singer and band leader is a massive Bruce Springsteen fan. Our gigs tend to follow 'the Boss' in length with 3+hour sets not uncommon. On Saturday we had the dreaded WhatsAppp message from him - 'I'm at a Springsteen gig' - which can often mean last minute set changes as new songs appear following an epiphany during The Boss' performances. Yesterday, with the BL yet to appear at the rehearsal, the sound guy and I were taking bets on which Springsteen songs would be added and, as Sir Paul was also present with Bruce in Liverpool, which Beatles tracks would also make an appearance. We both lost as the BL was very restrained and chose not to alter the set at all. Instead we ran through the first 6 songs, which run together as a solid 20 minute section kicking the set off. It's a new concept to most of the band so we've been working on the transitions and they're finally beginning to gel. The sound guy kept telling me my bass was sounding 'muddy' and I couldn't figure out why as nothing had changed from the previous rehearsal. Right at the end, as we were talking about it, his description 'all the top end disappeared from your sound' made me realise that the 'Ultra HI' button on my Ampeg SCR-DI pre-amp pedal had probably not been engaged and sure enough, that was the issue. I love that pedal but I wish it had indicator lights on the push buttons. Ibanez GSR205, Broughton HPF (set at 40hz) Zoom MS60 (for noise reduction, compressor, tuner/mute and a couple of one-off spot effects), Ampeg SCR-DI into the desk. Skechers. 😀

The Hulla band has its self organised festival coming up and one of the acts on the line up is a choir made up of volunteers for a local homeless charity (one of the recipients of the funds raised by the band each year). They are also singing 6 songs with the band - it's become a tradition over the last three festivals. Last night we had the first rehearsal with them this year. They are very good - their leader is a gifted singer in her own right (she usually joins the Hulla band for the festival gig). The songs they are doing with us are 'For What Its Worth', 'Knocking on Heaven's Door', 'Run', 'One Day Like This', 'Like a Prayer' and 'Burning Love'. There are some beautiful gospel vibes on 'Knocking on Heaven's Door' and 'Like a Prayer' but the song of the night was 'One Day', which had the hairs on the back of my neck standing up. Rig du jour was my recently acquired Ibanez GSR205 through a Vox VX50 bass amp (tiny, plastic but a great practice amp with lovely bass). We were also experimenting with how to mic up the choir for the festival so I was working with our sound man to test a few microphone combinations. Today's homework is to take the recordings we made and separate them into different mic set-ups so we can confirm what was chosen on the night. We tried a pair of small diaphragm condensers, a pair of 'cheap' dynamics and a pair of SM58s in various physical set ups and the sound man decided the SM58s at just above head height, separated by 9 feet (as suggested by the Shure website, apparently) gave the best sound. I was also trying out a Behringer boundary mic which I had recently acquired, more for my interest than a contender, and I was very happy with the results.

I rehearsed with the Hullas last night. We were down on numbers due to holidays but there was a quorum so we decided to go ahead and work on some arrangements and iron out some technicalities. There was also home made cake to celebrate the BL becoming a grandad. It was very productive evening and at the end, the BL decided we'd all been good boys and girls so we had a bit of a jam. And out of the blue, the BL unleashed some pretty cool guitar solos (he's not known for the lead breaks, usually sticking to vocals and rhythm guitar). The energy and buzz was amazing. Even the Ukes section was bouncing. 😀

As has been said by others, I gig because I love playing live music. I love the camaraderie of a band on stage (the 'us vs the world' vibe) and some of the funniest and most enjoyable moments I've had with bands have been with friends on stage or in the studio. I've never lost the buzz I get from a successful gig or a good performance. I'm fortunate not to need the money (although it funds my GAS) and the current band I'm in plays solely for charity, which gives me another little buzz when we do the end-of-year distribution accounts. I've learnt so much from other, better musicians. In the early days I developed a self confidence which I was able to take back to other parts of my life. I'd like to think I've brought some fun to other people along the way.

Several years ago I bought a cheap Gear4Music wireless IEM system (transmitter and receiver plus earphones) to try out IEM before I invested properly. At the time my reason was the same as yours - to be able to hear my vocals. They were plugged in to the headphone out of the PA mixer (which was only handling vocals). I'm still using the same system with an upgraded set of earphones (KZ ZS10s from Amazon) as recommended somewhere in the thread @itu has linked to above. Before wireless, i invested in a Behringer P1 wired headphone amp (with built in limiter) which I had set up in the same way.

I bought a Precision a few years ago following some recommendations on here. That was my first experience of a Precision of any sort. I wasn't expecting an epiphany and (spoiler alert) I didn't get one. But I did realise how well it worked in the mix of other instruments live and later in recordings. No regrets and it's regularly played. It's my go-to bass in situations where I'm not sure what will be needed, and if my main band goes down the Motown route the Precision is front and centre.

I had another recording 'gig' last night (I was the engineer). This time a 'band' - actually two 13 year olds with an original metal song but they wanted a full band sound. At that age, I was expecting it to be hard work but they were very mature about the whole thing with the only distraction being the obsession with capturing everything on their phones for later TikTok release. I had to remind them several times that they were paying for the time! Drums went down with a rhythm guitar guide track with only a couple of false starts. The guitar took a little longer and there were a couple of drop-ins necessary as they were losing track of time (the guitarist wanted to re-do the whole track but most of it was fine). The vocals started out being a bit lacklustre (think 'Disney sings metal') given they were about revolution and rebellion, but once I'd got the singer to tell me why he'd written them, and how he felt, the anger came across in the third take. The guitarist also played bass through the house amp which I recorded DI and with the room vocal mic. It was a nice old Ampeg 15" combo - not sure of the model but great sound DI and with mic. We overran the session by about 30 minutes - mostly TikTok video - and we had to stop for a few minutes while the thunder storm raged overhead. All in all a good session and it restored my faith in the younger musicians who are coming to take over from me. 😀

I bought the adapter following a recommendation on BC. I'd definitely pass that recommendation on. Edit: Being a simple design (no screws or bolts) means you can use the adaptor or go with double ball ends as the fancy takes you. 😀

In my area (S. Wales) there are a few Facebook groups along the lines of 'Seeking band members' and that's how I found my last two side projects.

No pints for the wrong answers. 😂

If they come to see you regularly and know your sound, they would be a good choice to provide a check that nothing was badly out of balance. Not a replacement for a decent soundcheck but preferable to only finding out at the end that something was wrong. And all for the price of a couple of pints.

The Hulla band played a 50th birthday party last night in what is becoming a regular venue for us in Port Eynon on Gower. We've played inside and outside the hall, in teepees and marquees there and, for the first gig I played with them, open air outside the fish and chip shop on the sea front back in 2022. That day we were paid in food. 😀 The stage was cramped but I wanted to play my new 5 string Ibanez. I was aware that it might not be possible without repeatedly stroking the guitarist's lower back with my headstock (not a euphemism) and took my headless shortscale Ibanez as an option. But I managed to find a little spot between drums, keys and guitarist that I was able to make my own. I had planned on using the onstage monitors rather than my in ears but the cramped conditions and proximity to the drums and the guitarist's amp meant that I ended up with the IEM. Our sound man had brought the PA subs and during the soundcheck my bass was booming away but once the hall filled up and he'd EQ'd properly, the sound was good. I kept the board to a minimum - Zoom MS60b giving me a noise gate, compressor and tuner and my Ampeg Classic preamp going into a DI box and into the desk. IEMs were through my Behringer P16 via Ultranet from the desk and a pair of KZ ZS10s earphones on which I've replaced the silicon buds with foam ones for much better isolation. Footwear of choice was the lace up black Skechers which have become an intergal part of my sound. This was my first gig playing a 5 string for several years and there were a few string faux pas but nothing the derailed the night and overall I was happy with my performance, and with the 5 string. I love the narrow string spacing and neck, which suits my hands perfectly. As usual, we had a lot of fun on stage and the audience were up and dancing from the first number. Hiding behind the guitarist.

Option 2. With the proviso that, as mentioned above, if you can do the soundcheck before the punters arrive then that is far better. I had this ongoing argument with our guitarist/singer who didn't think any band needed a soundcheck as he knew how to get a great sound. He didn't, of course, but couldn't admit it. His guitar sound was almost as bassy as my bass. Later, after I'd left, I went to see him play. His guitar was still far too bassy and the vocals were very indistinct. If the soundcheck is brief and done in a professional manner, perhaps even announcing it to the punters and/or making light of it ("Thank you very much and goodnight" after 30 seconds of a song) then no one can complain and it's far better than hoping its ok.

I was in a band like this once, for about 5 years. It was one of the best band experiences for me because we were good, the venues booked us (we had several residencies) and it made playing so much fun. 100% agree.

I guessed it would have. For most of the venues we play, there still wouldn't be enough room on stage but that's more to do with us being a big band with a full drumkit. A robust stand to lift the projector up might work, but any vibration would be magnified by the stand and projection distance. When we were looking into it, I started playing about with what to project. Obviously it depends on the band/genre/taste but a couple of things I tried were a powerpoint presentation of random coloured shapes on each slide with a slow fade transition applied and the video feedback from a webcam pointing at the computer screen while recording. None of these would have been synchronised, though.

I looked into it for our band, using a projector, a few years ago. The problem at the time was getting the projector far enough away from the screen for the image to be large enough while avoiding shadows from the band and keeping the image bright enough to work in anything other than a blacked out venue. We decided against it in the end (too expensive, needs someone to look after it if sits out in the audience, not practical for most of the venues we were playing). I haven't kept track of the technology since but you need to consider how you would place the projector (brightness drops off as the inverse square of distance) and whether the projector can compensate for 'keystoning' (if it projects at an angle, keystoning is the distortion introduced - most projectors can compensate to a certain degree). Back projection would be best as the distance to the screen will be less because the projector is not in front of the band - as long as you have enough distance behind the band which is usually not the case.

I put this video together at the request of one potential booking person. And this is a photo from a year or so ago at fund raiser for the hall we rehearse in - fancy dress as it was Halloween themed.