ironside1966

[quote name='bilbo230763' post='212583' date='Jun 4 2008, 04:15 PM']Errr.... that's my point. If its all covers, the whole thing dies, pop, classical, jazz, country, zydeco, reggae, folk.... all dead. There IS a lot of creative music out there, even some people playing out of tune nonsense and calling it avant-garde, but it rarely gets an outing because of all these covers bands clogging up the gigs! Let me make a point. I do a regular jazz gig in Bury St Edmunds, been doing it for 4 years. We do covers under the guise of jazz standards and, due to the generally conservative tastes of the bandleader, most of what we do is not particularly challenging. Our audience are not really listening; they look over in our direction once in a while and occasionally clap politely but it is what many call 'background music'. The standards we play are mostly the obvious Top 100 (the jazzers out there will know what I mean) but this audience demographic wouldn't know All The Things You Are if it walked in and bit them. Anyway, occasionally, someone pulls out a composition of their own and, because they have done a bit of work, written out a decent chart and have something resembling an arrangement, these compositions stand out and people notice them and comment positively. The great thing is, the farther 'out' we go, the more the audience responds. These people are mostly 20-30. What is apparent is that they respond to the ENERGY not to the notes. When we play something original, there is something less tired and stale about it. I just think if people stopped accepting covers bands, people would realise that their audience is more accommodating than we think and have more brains than we give then credit for. If the material is strong, they will get it. Remember, every song they ever hear they had to hear for the first time![/quote] If you are bored the audience is it is that simple. IMHO 1. The problem lies with either the band leader for playing the same tunes week after week and is stuck in his ways. But then again him as kept the gig for four years. 2. Or the band for lack of enthusiasm. The ability to perform is a very important to a musician. Probably a bit of both. If the original composition wakes the band up, then it probably is that the makes the audience takes more notice as much as the new tune. But could you sustain the gig playing only original compositions Few small points 1. I don't understand the loss of integrity at all. 2. If you prefer to play original music or covers, does it really matter? 3. A good band is a good band, whether covers or original. Same for a musician 4. I don’t understand this notion of if there where no cover bands the audience will have more interest in original bands, I you don’t give people what the want they will go some where else, cinema, pub, stop in with a few cans. Market forces. A local theater near me as suddenly started hosting tribute band after not having live music for many years. This might filter down to other bands in time. 5. I remember auditioning guitarists many years ago where a couple of the guitarist who turned up had only been in original bands and after a quick buck. They had the attitude a cover band was beneath them and they where doing me a favor by lowering them self to join us. If they had spent the time to learn the songs properly they would have known that the lacked the skills needed for the band. 6. If you are not getting enough gigs look inwards, do you entertain, is there something wrong with your promotion marketing, do people really want what you do.

[quote name='john_the_bass' post='211250' date='Jun 2 2008, 05:28 PM']Sod him. We had a drummer who split up a band because he "sweated too much when he drummed". Right-o[/quote] Bo

[quote name='Tinman' post='210554' date='Jun 1 2008, 03:42 PM']As well as not understanding it, the whole argument really annoys me. Do the members of the London Symphony Orchestra lack integrity because they play Tchaikovsky, rather than getting together to write their own stuff? Do the Arctic Monkeys have any more integrity because they do?[/quote] +1 You have to be a good band to get good money. There are a few exceptions nowadays, but are becoming less and less

I don't understand the loss of integrity at all. Having worked in professional function bands, I have played a variety of tunes from Level 42, Prince, Led Zep, Earth Wind and Fire ,Chic, Thin lizzy, Abba + chart music. And many many great more I have met and worked with many great bands and musicians , who are also nice people. INHO a good rounded musician should be capable of playing covers and original songs.

[quote name='Galilee' post='209597' date='May 30 2008, 01:56 PM']I expressed an interest in trying out for a local function band, not really my sort of thing but I figured it would be regular live work and little 'management' responsibility for a change. The band leader sent me their playlist, 64 songs, all classics I suppose (in an MOR way), but all new to me from a playing point of view. I'm going to have to pass on this opportunity, but feel like I should be using this list to get these songs under my belt for the future. The trouble is, how much of an idiot am I going to feel sitting there learning Lady In Red, Black Velvet and suchlike? I think I've hit a critical point in my life, where the musical 'integrity' of my youth is now exactly balanced by my being nearly 40 years old. I'm getting so old that I just want to get out and play anything at any opportunity, but I'm not so old that I'll play any old rubbish. What do you reckon? Would you learn a load of songs that aren't your style at all to get work? Have you ever played [i]exactly[/i] the sort of music that you really love in any case, or is it always a compromise? Should I stop navel-gazing and just play the bloody thing until my fingers bleed?[/quote] Played those songs the mid 90,s They where old hat then.

Hartley Electric Music 238 London Road, SHEFFIELD, S2 4LW T : 01142682738 Pete Hartley a Sheffield legend who runs a little shop, Hartley Electric Music, that makes and repairs all kinds of stuff. Pete sold synths to Cabaret Voltaire and the Human League, then apparently went on to design the Simmons-based drum kit which Def Leppard drummer Rick Allen used after losing his arm. Allan Holdsworth uses Hartley Thompson amplifiers

+1 This is a good simple answer. [quote name='warwickhunt' post='206618' date='May 26 2008, 04:03 PM']When the amp is in use by itself you're unlikely to ever need to use the button. It is mainly useful when you have a couple of units linked together in a rack etc. and in the event you are getting an earth humm, try pressing the button. Loads of amps have them though I've not had reason to employ the Ground Lift on any of my amps in the last 25 years. So long as you know it's there and what it does, then just forget about it.[/quote] It is a safe alternative to removing the earth wire from a plug.

What about BFD IMHO for more realistic. Also works standalone.

More wattage does not always mean more of volume. All that maters is that you is you can get the tone you want at the volume required. Remember In larger venues most people go through the PA. As a live sound engineer for many years, one of my pet hates is loud musician who will not turn down. Also it is not clever to blast audience’s ears out. I have had the same argument with many a musician. “I can’t turn down, I will lose my sound’ or “my amp will sounds sh+t any lower” IMHO The band overall sound of the band is more important then the sound individual instrument. When I worked as a bass player, I found the more I gigged the smaller my gear got.

I also had a Washburn Bantam Stick bass from Steve Dawson of Saxon, now stolen. Plus this white Tokai single pick up fretless. Not sure of the model and I can’t find a serial no but I think it is one of these. If any one as any more information on about the Tokai I would be interested.

[quote name='BOD2' post='197189' date='May 12 2008, 02:52 PM']One thought that comes from this talk of "professionalism" and large turnovers.... Before you begin, draw up some sort of agreement between the band members so that if someone chooses to leave (or, perish the thought, is asked to leave) they will know what they are and are not entitled to in the way of any payments (e.g. through share of PA etc.). It's not much fun but could prevent a lot of problems later on should someone leave. Make sure everyone understands and agrees to it.[/quote] +1 And don't expect huge rewards instantly. The rewards will come in time. Just make sure you're always looking for constant improvement, however small that improvement can be. +1 also

Why not try a thick rubber door mat, less then a fiver from Tesco

INHO A good function band should be run as a business, If I where you I would do a business plan with before you do anything rash. Work out the costing for both hire and buying, maybe it is worth looking into leasing a PA system, lights and or Van. If you buy remember that things go wrong and repairs can be costly. A few questions to ask you’re self 1. How often do you want to work, or can you work? 2. How much do you think you can charge? 3. Who is the competition what do they charge? 4. Is there a good market will pay more for what you play well? 5. Are you entertaining enough? 6. How far are you willing to ravel on a regular basis? I have worked as both bass player and sound engineer in professional function bands. I did on average about 250 gigs a year, traveled thousands of miles Mostly we carried our own PA and lights and owned are own van. Also In my experience most work comes through agents. The more you get paid the better the competition. One missed or bad gig can set you back a long way in the early stages, skimping on a cheap PA or van can cost you a lot more in the long run.

a link for Joe Hubbard at Talkbass [url="http://www.talkbass.com/forum/showthread.php?t=346266"]http://www.talkbass.com/forum/showthread.php?t=346266[/url]

Try this from electro music Bass Tuition @electromusic In Store - Tuition Bass Tim Bradley is the Electro Music Bass Teacher -01302 817 282 BIOGRAPHY Tim is a well respected bass player/teacher with almost 25 years experience in gigging, studio sessions, radio and TV work. During his career he has toured extensively throughout Britain and Europe, working with Midnight Oil, Sad Café and Culture Club along the way. His recording work has included sessions for BBC Radio Two, an appearance on Central TV and numerous album tracks. Tim’s musical education includes ‘O’ and ‘A’ Level music, Grade 5 Flute, Grade 6 Piano and Grade 8 Bass Guitar (Distinction). TUITION:- One to One tuition on Electro Music premises. Hourly and half hourly lessons to suit. The first half hour lesson is free if you buy a bass guitar from Electro Music! All levels of ability catered for – beginners welcome! All bass styles and techniques covered including SLAP & TAP. Rock School examinations available. 100% success rate to date! Training in musicianship included as standard.

Do you really need more power? In larger venues, will you go through the pa system Bass guitar is often louder then you think in the audience. And acoustic drums can only play so loud without been drowned out.

• Are you near any reading lights or any stage lighting or dimmer packs? • Is your guitar properly shielded? • Are all relevant connections balanced line? • Can you borrow a guitar with humbuckers? • Are you on a different earth loop? Is the problem that every body plugs in the mains where the can and mix the pa and lights with the same earth. This makes interesting reading from sound on sound [url="http://www.soundonsound.com/sos/aug06/articles/qa0806_4.htm"]http://www.soundonsound.com/sos/aug06/articles/qa0806_4.htm[/url]

[quote name='Adrenochrome' post='190337' date='May 2 2008, 10:13 AM']I can't afford to be a bass snob and possibly never will be able to afford to be. The sound of my all Ashdown/Peavey set-up is more than adequate for reasonably well paid gigs. There are quite a few semi-pro and pro players earning good money playing Squiers, Peaveys, Arias and the like. Of course there is absolutely nothing wrong with appreciating the craftsmanship and sheer quality of the better basses as long as you're not down on the likes of us who can't afford the expensive gear.[/quote] There is nothing wrong with preference, or wanting or owning a professional instrument. If you’re a pro you need pro gear. Even cheapest of instruments nowadays are quit playable if set up correctly. The benefit of staring out on a cheaper instrument is you learn how to get the best from your guitar, this is a skill you take with you when you do eventually up grade to a pro instrument. The snobbery I don’t like is when people look down on other people because bank of mum and dad won’t pay for a Musicman or MIA Jazz bass. The grumpy old man part of me thinks when I hear the kids say things like “ I would not be seen dead with a Squier” What would you own if you had to pay for your gear own of the money you make from playing. Maybe a good idea would be if someone puts up a few sound clips of basses of different quality, see if every body spots the cheap one

After a forced retirement due to illness, I decided to go back to collage and university later this year. There is a lot of snobbery amongst the kids, the worst offenders for gear snobbery are the ones that know and have done the least.

Try a Squier deluxe Jazz 5 string active bass i have had mine for a few weeks, still very happy, alot of bass for little money

Hit Me with Your Rythmn Stick Come on come over Jaco I am back playing bass after a long time off so I can play the notes ok, not happy with the feel.

Try Axtec You will have to cut it your self or get some one to do it It is not that expensive if you balls it up. £9.95 free shipping. [url="http://www.axetec.co.uk/axetec%20guitar%20parts%20spares%20pickups_092.htm"]http://www.axetec.co.uk/axetec%20guitar%20...pickups_092.htm[/url]

Try RVD1 Kick drum microphone a good cheaper alternative to the AKG D12 at [url="http://www.red5audio.com/"]http://www.red5audio.com/[/url] Here is what red5 says This mic is a sure contender as a future industry standard. Offering robust construction and contemporary styling, it captures and delivers clear, punchy bass with tremendous sonic clarity. At this price / performance ratio, the RVD1 is simply unchallenged. In addition, the RVD1 includes an all-metal mini-tripod stand and the complete package comes in a rugged black plastic carry-case. Add this mic to your collection and hear the difference in your mix. Price: £35.00Includin