thumperbob 2002

[quote name='Bilbo' post='1129359' date='Feb 16 2011, 10:55 AM']I left a band that wanted to do My Girl.... its naff with knobs on and its on my list of YEEEEEEEUCH !![/quote] Welcome to my world

Good post this one. Pretty amazed Bilbo cant tell the difference between a Jazz and P though certainly a Jazz can sound like a P in a band setting- dont know about the other way round? Totally agree about how important playing is and really accept that people do try to buy "talent", hoping that it will be some shortcut. I had a guy working for me who was building up a client base and the first thing he did was to buy a very expensive lap top, hoping he would get his client bank from the internet. Never ever works- he just wanted a shortcut without paying his dues and being out of his comfort zone- he didnt last long. There is one point I would like to make and that is technology does have an impact- weight is the most important one I can think of- there is no reason someone would have an SVT and 8 X 10 cab when a lightweight rig with Sansamp or Bass Pod will sound the same.

[quote name='Bilbo' post='1129328' date='Feb 16 2011, 10:27 AM']The trouble with this is that everyone thinks they are playing to the same audience when all of us are always playing to several audiences at once, depending on the function. Whenever I see a band covering an endless list of 'must plays' like MS, WT, Dock Of The Bay, Billie Jean etc ad nauseum, it turns me off in an instant and I know that I am not alone. There are always people too young for your set, others too old, more too sophisiticates and some too distracted. If we all play the same material, we will become like TV - homogenised, predictable, mainstream, unchallenging, unstimulating etc etc. Arguably, we are already. I guess the art is to come up with a set of songs that everyone knows and loves but noone else plays. Good luck.[/quote] My thoughts exactly- it is SOOO boring to play the same old songs day in day out- probably both for audience and band. I think there is room for a bit of creativity but the problem is the average musician is so conservative and really relies upon the "bread and butter" songs. They do not want to do anything new. My thoughts are that is you are doing quality songs well ( whatever they are - within reason ) the audience will appreciate it. Sometimes it will go wrong- sometimes you will be surprised- by the way my band does all the standards- including Mustang and My Girl - been trying unsucessfully to knock these on the head but really they are so popular the audience sort of expect them. 1000s of songs out there to choose from- someone needs to take a risk. If it was my choice I would be doing both Parliament and Lady Gaga in a soul stylee!! Bilbo always hits the nail on the head.

[quote name='lowdown' post='1129316' date='Feb 16 2011, 10:15 AM']And i did say on my opening line - Its not at all a young mans game. [[b] Maybe a full on covers band[/b] - if they still exist] Garry[/quote] Too true my friend. Bob

[quote name='lowdown' post='1129031' date='Feb 15 2011, 10:41 PM']Its not at all a young mans game. [ Maybe a full on covers band - if they still exist] Look at any TV band [not that many granted], look at many the of show/pit/ bands/Orchestras, Classical Orchestras...full of people up to their retiring age. Being a full time Musician has many sides to it these days. At one time it was easy just to play only Bass or what ever and earn. Gigs , shows, sessions, tours, 6 night a week Residencies, pub Residencies, cruises, name act tours or being in their bands, hotel residencies, millions of holiday camp gigs, they were all easy available. Now days folks do all kinds besides just their first instrument. Some teach, some do arranging, some turning midi files into school band charts, some orchestrating parts for films and shows, some supplying media music for broadcast and production/library companies [earning broadcast royalties], some writing for TV etc, some fixing or agents even, Music techs, the list goes on. Its all part of being a full time musician in this day and age. Just being a pro Bass player alone in the traditional sense is not going to sustain you a great life span in the business of music anymore, unless you are something very special, or just want to get by financially. Look at Guy Pratt these days, Bassist, Media Music writer and part time [music business stories] comedian. To the OP , good luck with it all. If thats what you really want, work hard and go for it. I did at 17 and 35 years later still living nicely, Oh and with a wife and family including the holidays, own house and a decent car - and have never eaten a pot noodle in my life. Garry[/quote] The OP was referring to a full time covers band in the post- Its a young mans game.

[quote name='lollington' post='1129139' date='Feb 16 2011, 01:20 AM']Thank you for all the replies. It's been interesting reading all of your posts, and it's certainly shed some light into how things work. It seems pretty variable, and like all jobs, I suppose you've got to be determined and willing to make the whole thing work out to be worthwhile. Although I don't doubt I can muster the effort involved in make a living as a musician, I'm not sure it's the right direction to take at the moment. I found this particularly amusing, seeing how I've worked in a building society for the last five years! Having had a pretty rotten few days in the office, band practice tonight has really bucked me up. It seems fair to tell you, after you've all been so honest and helpful to me, I've decided to stick with the 9-5. I'm lucky enough to have a hobby in music. So long as I have a day job that can sustain this, I'll be happy. Would playing music full time spoil this fun? Perhaps so. Being fortunate enough to have a full time job with guaranteed income, decent pension and sick pay benefits seems a little daft to throw away, no matter how boring it is. But then I guess this is the mentality I inherited from working in the financial services. In thirty years from now will I regret [i]not[/i] doing something more enjoyable for a living? Definitely. But so long as I can have fun when the tie comes off, for now I'm satisfied.[/quote] I am in financial services too pal- own my own Investment Company ( long story ). The benefit you have is that you could take a few years off to work pro music and then easily get back into Financial Services ( certainly in two years when most finance professionals will need the new exams and half of them retire because they cant pass them!! ) I find- having had what can only be described as a "chequered career"- that the more life experience you have- best to do it at a young age- the better. Take those rat race blinkers off!! Then again with a guaranteed salary etc and the extra monies from a few gigs per month no doubt pressure from the financial side of life can be reduced!! And also when you have a bad week at work you can look forward to a good gig and solely do not depend upon one occupation as such.

Really a reply to gareth. My comments were negative I agree. I suppose everyone here will have different experiences of work and music or both together as a living. I really respect people on here that go pro and make a positive, creative life. Wish I could have been satisfied with it but I suppose I wanted more from life. Lots of pro musicians I know -some name successful chart acts too- struggle after years in the business with not much to show for it. I didn't want to be one of them. I think I have the best of both worlds now with a successful business and a few gigs a month with some great guys ( and musicians ). I still think it is a young mans game being pro. Some years ago I used to have nightmares I was still in a pro band and wake up sweating!! Just the thought I was still doing it fills me with terror!! It was obviously not for me but that does not mean it is not right for others- I would say to the OP try it- you only live once!!

I have been playing bass for over 30 years and from the age of 16-32 was a semi-pro ( 4 gigs per wek on average ) to pro musician ( more or less every night ) Having a day job and a few gigs is the way to go. For a pro band ( unless you really are the best of friends and this doesnt change ) you will fall out with your " business partners". Living in other peoples pockets is not good. Can be good fun but so is learning to drive-you soon get fed up of that. I now work fulltime in my own business ( mainly working from home ) so I see my family and play 2-3 gigs per month ( which I now love )- no pressure is good. As a pro musician, bricklayer, plumber or barrister- there is always the pressure of the mortgage and family. What you may love now will turn into something you will hate- the gigs are ok- its everything else. Definitely a young single mans game.

Yes definitely possible for a normal job reading- backing for an "artiste" or group- but dont think it is possible for -like a pit job on a stage show- takes a bit more experience methinks. You will be nearly there though- I can read a bit but certainly not up to a high standard- had 6 months lessons- 30 mins per week and practiced say 1 hr a day. Could easily have played in a resident band etc though had got lots of experience by that time with a good song knowledge- base. Dont really use the skill too much and feel as though when I pick up a score I am getting up to speed and nowhere near as good as I was- but hey- only so many hours in the day.

[quote name='EssentialTension' post='1125500' date='Feb 12 2011, 10:21 PM']I (and many others more competent than me) have played in soul bands, even played in Eb, with an EADG four-string. It's what happened in almost all soul bands for thirty odd years. Jamerson did have a Fender Bass V but it would have been tuned EADGC and one story has it that he hated it so much that he threw it across the studio saying 'Never let me play that again'. I have no idea if this story is true. The massive majority of Motown, Stax, Atlantic etc output would have been done on an EADG bass. Of course five-strings are used a lot more today and if people want to use them or the musical director requires them to be used then fair enough.[/quote] Yeah it's just that getting that low Eb you have no choice either use a five or drop tuning a half step. Try playing superstition on a four string Something always seems as though it's missing. Those great guys like jamerson. Jaco etc fooled you into thinking they were playing lower than they were. You can do amazing things with a 4 but essentially it's horses for courses

Try playing in a soul band where loads of tunes are in Eb without a low b. Even jamerson used a fiver sometimes. The argument is drop tuning where you could go downnhalf a step but still a bit inconvenient. Love my 5s

I have an LMK II and a Sansamp BDDI. Its great for fattening up your tone-really versatile- small and well made / reliable. Does colour the sound ( as it should ) but does sound better than straight in to the amp. The LMK is a little too clean so this unit adds a little warmth. Mind you a bass playing pal once had a look at my rig and as I only use very small differences in tone with/ without Sansamp he could nt tell whether it was on or not! A little goes a long way with this unit. I use a Bass Pod XY live now so if you are interested would sell the Sansamp- mint and boxed. Its the Deluxe version with 6 programmable sounds. Dont know what they are worth? Bob

David Dyson - Unleashed Doug Johns- Pocket Fulla Nasty If you like funk that is. No-one mentioned Jaco Pastorius? Bob

I have one and think it is terrific. The main point of this is not really the effects but the amp modelling which is great. Presets are awful. If you invest time in it you will get the best out of it. I do mean hrs and hrs. Didn't think anything could be as good as my sans amp but this is the real deal.

I too am of the old variety ( 50 next year ) been playing bass since I was 14 ...so thats 36 years WOW! Started with a power pop trio- went into blue eyed soul etc... the 80s -they were the days!! Few big gigs- backing some big bands etc- Finally had it with the pro scene and put my bass away for years whilst I sorted my life and career out. Now really enjoying bass - in a 7 piece soul band with great guys. Influences- the normal Larry Graham- Bootsy- Pino- Jaco- Jamerson-sounded like them all at one time or another- now I think I sound like me. Got a bit of musical theory- can read a bit- backed a few `artistes` in my younger days. Love music- I do the odd solo when asked- but dont really like to. Prefer fingerstyle to slap but probably as good at both. Am strangely drawn to the David Dyson style of hand muted Trebly Funk but wont use it on stage. Love good drummers- cant play with bad ones. Cant stand keyboards filling in the mids and singers always soundcheck with no volume and turn up the level when performing- cant understand that one!!

[quote name='Muzz' post='1111997' date='Feb 2 2011, 08:34 AM']+1 to Bob's comments above, especially about Schroeders, though I use an RH450 now, rather than the Sansamp/LMIII combination I used previously, but that's more about my particular sound requirements and me obsessing even more about minimal kit. The MB head (and I had MB cabs before, too) was excellent, and as Bob says, you just don't need to lug around an SVT/810 anymore (had those, too). You'll note I used the word 'need', rather than 'want' there... In the rehearsal studio the other week, just for fun, we tried turning up the wick on the RH450 with my 1515L (earplugs in, natch), and even though I'm in a rock band with a loud drummer, before I'd got too far round the dial, all you could hear from the drums was the cymbals. I am now forbidden from doing that again on pain of, well, pain. God alone knows how loud your 1212 + 1515 rig'd go, Bob. [/quote] Very Very loud- I like headroom!!

I have a Markbass LM II and find that there is really no Markbass sound- just sounds like my bass with no colouration UNLESS you use the two filters ( I use the EQ Flat ). I find that if using a Sansamp or Bass Pod etc all I need is a power amp so no EQ and straight into the cab. If stage monitors are provided I could do without an amp/ Cab. I also have a Little Giant 1000 which powers two Schroeder cabs for big gigs or I`ll use the Mark Bass with one cab for other gigs- overall a really loud rig just with the one cab- with two its really overkill. The LG 1000 is cheaply made- has a weak pre amp section- but set up properly ( used just for power ) does the job- and it was £249 new!! The Schroeders are pretty unbelievable really- I think Schroeder had some quality issues but I have had no problems- I can carry both cabs into a gig - one in each hand with my bass/ gig bag over my shoulder- so one trip mostly. Gone are the days when -at the end of a gig- I `d be dreading carrying my valve head and 4 X 12 back to the van. With modern modelling technology you simply do not need an SVT with an 8 X 10!! Bob

[quote name='Doddy' post='1111092' date='Feb 1 2011, 03:02 PM']But what about if you have to deliver BNP (or whoever)promo material? Would you flat out refuse to deliver it,or just get on with it and do your job?[/quote] Bloody good answer that. Anyway.... I was a pro and it is much much worse not enjoying a tour with a group of band members ( who are T**ts ) than working for a living, not enjoying your job. Less hours involved in a normal job than a jobbing musician - and by and large more money. But for something like music- where it should be fun- not enjoying it is soul destroying- really. Think I have the best of both worlds- with a pretty successful business and two great gigs per month with a fabulous group of like minded people. Having my cake and eating it. Answer- no I wouldnt play for anyone I didnt like - be it the guy at the end of the street with his amateur band- or Elton John- the truth!! Bob

Hi all I got a line 6 xt bass pod live off a chap in Doncaster yesterday. eBay purchase for £148. Really pleased with this. More options sound wise and tone wise than I will ever need - quiet, high quality tone. The amp modelling on this unit is second to none. With these units I don't want to radically alter my tone, just some small changes at some gigs. Having one box makes setting up so much easier. Watch this space for pedal off loading. Sansamp BDDI, bass xciter, some ash down pedals, zoom 708II. No idea how much they are worth?? Cheers Bob

[quote name='Ghost_Bass' post='1104050' date='Jan 26 2011, 05:10 PM']Don't buy an expensive one! First find out why your current one is noisy - maybe wrong power supply or grounding isues with it, try it with batteries for troubleshooting. If it's realy a fault of the unit then get a used Boss or something similar. Use it extensively until you find the fx's you like more and realy use then start buying good (and often expensive) stompboxes! My 2 cents...[/quote] Yeah the Zoom 708 is known to be noisy- no issue with power supply etc -they all are like that sir!!--not too bad for live work but pants for recording