peteb

Blue, I know that this is a bit of a thing for you, but sometimes I prefer start-ups. There are only so many half decent gigging bands on the circuit at any one time and the good ones tend to have pretty stable lineups. There's nothing worse than going into a not so good band and then have to tell them they're doing it all wrong - they tend not to like it 😕 At least with a start-up, you can get to have a say in the players involved and how the band will go about things (both musically and offstage). There's no guarantees, but if you get the right people and if you are realistic, you can usually get something going reasonably quickly. It's a good idea to learn a repertoire of commonly played songs, so at least you can pick up deps while you're looking for another band.

But they did, which is the point! I've just been reading Bernie Marsden's autobiography. When Whitesnake started they had a drummer called Duck Dowle on the first few albums; a great pro drummer who was a good fit and who they all liked. But as soon as Ian Paice became available he was replaced. All the rest of the band thought it was harsh and knew it easily could have happened to them, but they all agreed it it was the right thing to do. Unfortunately, sometimes that is part of being in a band. No point in getting upset about it, even though it is frustrating. It's no reflection on you, just move onto the next band...

We may have been neighbours (I lived on Churchfield Road). I moved there in 83/84 and moved up to the frozen north in January 86.

So did I...!

I had forgotten the Trades - another up the outside fire escape job! Not the worst load in around, but it's inevitably raining and the fire escape is above an alleyway where all the bins are kept so it always smells a bit ripe!

The PA we had (remember that this was back in the 80s) included 4 x Martin bass bins (the cheese wedge shaped ones), four substantial mids cabs, tops & separate horns enclosure for each side, a large flightcased desk, a horribly heavy amp rack and a big FX rack. The guitar player and soundman who owned the rig used it to start a PA company later on (still in business today, not using the same gear). We had to get that lot up an outside fire escape at a couple of gigs (including the White Lion in Warrington if I remember correctly), but nothing as bad as Edwards.

This was back in the days when we used two 412s (in flightcases), an 8u bass amp rack, valve guitar amps (in flightcases) and a large double drum kit (in flightcases). In fact, the only items that were not flightcased were my bass cabs (a 410 & a huge 215). Fortunately, there was an always an in-house PA when we played there...

To be fair, the fire escape at Edwards was indoors, but gawd it was steep! Nightmare getting flightcases down it at the end of the night...

The load-in at Edwards No 8 back in the day was so bad that it still occasionally pops up in conversation, over 30 years later! Did you ever have to load out down the fire escape at the back? That was even worse...

I've always assumed that you wouldn't be playing to the same crowd in the last set that you were in the first at 8 o'clock, that there would be a constantchirn of punters watching the band then moving to another bar and maybe coming back later?? I think that the UK model of 2x45 sets plus encores makes a lot of sense for a night out watching a covers band.

Totally agree. The reason I never engage with SBL in any meaningful way is that most of the stuff he seems to promote has very little relevance to the gigs I do, or even the gigs I would like to do. I suspect the same applies to many of the youngsters who want to get started as a gigging bass player and would be Scott's target audience.

I've always heard referred to as a 'short change' or a 'quick change', never as a 'short 12 bar'

From what I've heard, it was more to do with what he fancied playing on any given night rather than whatever pickup band (cheapest guys available rather than 'session' musicians) was on the bandstand. I'm sure that whoever was playing with him would know the song perfectly well, but just had to follow the great man and what he decided to play.

I'm not so sure about that! Certainly when he got older, ol' Chuck wasn't too fussy about when the changes happened or what key he was in at any particular time, but when he started out he was laying it all down for everyone else to follow...

And remember, Johnny B Goode stays on the V chord for two bars (rather than one bar of V, followed by one bar of IV) before resolving back to the I for two bars.

First of all, I have played the blues circuit quite extensively and I really have no idea what a "short 12 bar blues" means! Now, what he COULD mean! Sometimes you may hear someone say they want to play a ‘quick change’ i.e. change to the IV chord in bar two. This would mean (for example, in the key of A) to play one bar of A, one bar of D, then two bars of A before the change to D rather than just four bars of A before moving to the IV chord (in this case D),. They could also say ‘in from the IV’ (i.e. play an 8 bar intro starting on the D before you get into the normal 12 bar) - similar to your subsequent post above) or ‘in from the V’ (play a 4 bar intro starting on the E). I’m guessing that you’re right in that he may well want you to play a repeat of the first bar, rather than walk up to the octave then walk back again. As far as ‘most bassists use their second finger only’, well that is just nonsense. When I am recording, I will often play short passages of quarter notes or 8 notes (at a reasonably slow tempo) with just one finger, in my case, my index finger. This is just to ensure consistency of tone and attack of each note to tape. To be frank, I would never play this way live. I hope that this may help in some way. Unfortunately, some people pick up a bit of the lingo without really understanding it properly and inevitably, get it wrong. Good luck…

I have to disagree, or at least think that there is a different reason for buying a Sadowsky. Essentially, most bass players are using instruments heavily based on a design from sixty years ago. If you have lots of money to spend on something more spectacular then you’re going to go for a Fodera or a Fbass or whatever. However, there are a lot of players want something that basically looks and sounds like a Fender, but with a few subtle improvements. These guys are more likely to be sidemen and they don’t want anything that grabs too much attention, just a bass that works in a professional situation. Earlier this year I bought a (not cheap) 5 string jazz bass from a pro player who had upgraded to an American Sadowsky. This guy plays in pits / travelling theatre shows, big MOR tribute acts and as a sideman for well known MOR artists. I think players like this (and those who aspire to be like them) have always been the primary market for Sadowsky. Of course, there are now plenty of other builders who make basses (Lakland, Xotic, etc) that meet the needs of this part of the market.

Band 1 (tribute): speaking to a singer I vaguely knew at one of his gigs. A couple of days later he sent me a text asking me to join his new tribute band. Band 2 (originals): a couple of guys in the tribute band were recording an album for a band based miles away. They decided to sack the bass player and the keys player recommended me. The leader asked me to join, then I didn't hear anything for ages. Then the guitar player gave me a CD of the songs at a tribute band gig and told me that they had a photo session and recording session scheduled in two weeks time. Band 3 (covers): guitar player I've known for years rang me up out of the blue and asked me to join a new band he and a drummer I knew were putting together.

Are you sure about that?? Sometimes I think that it is the other way round, especially with girls in their late teens / twenties...

I think that you have to remember that each situation is different, just as each band is different. You have to be adaptable and to make yourself the best fit for the band, assuming that you actually want the gig. As mentioned above, you are more likely to get a gig through having good networking skills and (vitally) having a good solid reputation. I haven't done an audition as such for 25 years or more (in fact I point blank refuse to audition for local bands), all the gigs I have got have been through personal recommendations or knowing the band. We have just recently replaced a drummer in a covers band. As soon as we knew the old guy was leaving, we just discussed on messenger who we thought could do the gig and might be interested. We then made a list of three guys (in order) to contact. Fortunately, the first guy could do it so we asked him to join the band (no auditions or trials, etc). If he couldn't have done it, we would have rung the next guy on the shortlist. Only if none of them were available would we have started putting out feelers and started getting recommendations from people we knew.

I think that you have to realise that she didn’t just get to where she is by accident. As she said, to get the Alice gig she was in the right place at the right time, but she had been knocking around LA for quite a while, increasing her profile and always looking for the big gig. There are dozens of similar guitar players round LA, all turning up for the same auditions and competing to get the next step up on the ladder. She did all the right things and gave herself the best possible chance, so it's no surprise that eventually she got the break and got the gig – good luck to her! You do have to note that she does focus on the whole package and not just playing guitar. She has certainly perfected the look and probably spends as much time in the gym as practising guitar (I have also seen her on videos talking in detail about working out and nutrition). To get these gigs, it’s not about if you can play (it’s almost taken for granted that you are a top player). It is just as much about the look, the image and the attitude.

I paid about £650 for a R400, including all charges. It will depend on how the pound is doing. Don't go in thinking that it will be do what the SVT does! Ita a different beast. If you're anywhere near West Yorkshire, you are welcome to pop round and have a go with my R400.

I remember there being a club venue that might meet your requirements in the centre of Edinburgh. I'm afraid that I can't remember what it's called, but it's on the same road as Whistlebinkies (about 100 ft down the street).

Impressive beard