Dan Dare

Efficient, too, which you'll need with "only" 350w. 2 drivers in one box usually makes a bit more noise than 2 single driver cabs.

As msb points out, your reading and busking skills need to be on point. Bands on cruise ships must be versatile and be able to play virtually whatever is asked of them at the drop of a hat. Two pals of mine (one now sadly passed) used to play for Joe Loss when his was the resident band on the QE2 (so this was a while back, but I shouldn't imagine much has changed). The band book was enormous and encompassed all styles (despite the tea dance image one might associate with the name Joe Loss). They told me it was quite lucrative, but also quite boring for much of the time. You are rarely if ever pushing the musical boundaries - most people who go on cruises are not fans of anything "out there" - and you will often be playing the same stuff night after night. The hours can be long. Obviously, one needs to be presentable and have social skills (interacting with passengers and crew is part of the deal, on and off stage), be disciplined and punctual and so on (it helps not to have a weakness for the electric soup - temptation is all around). Essentially, it's a musical day job but, unlike most day jobs, you don't get to go home and kick back/go out on the tiles when you finish work. Most cruise ships have excellent PA, etc, so any portable, high quality rig will be fine. You don't need a stadium rig. Carry spares of everything - you can't replace stuff, get it repaired, go to the shop or order online in the middle of the Atlantic and stopovers in ports are usually brief. Are you looking to get work as an individual or as part of a band? I'd approach some cruise operators and enquire how they book their entertainment. Most will use an agent.

It's always struck me as odd that, whilst most people view it as normal for instrumentalists to work at their craft, practice scales, acquire theoretical knowledge and so on, many seem to think that singing well is all down to "talent". Proper singers know different, of course and will learn vocal techniques and exercises and practice just as any musician does. They know that having a decent sounding voice (which is something one is born with) is only a starting point. Shame there aren't more who think that way.

Yep, the colour says to me it's well done, not rare. As you were.

50 years ago, it was all fields round here.

QED silver is decent stuff. The only thing I've noticed when making up cables for my hi-fi out of it is that the silver conductors are more brittle than copper. Not an issue of your cables lead an easy life, but may not stand being repeatedly trodden on, etc.

The OP was on something of a sticky wicket, after all.

Possibly not, but I was too weak willed to resist doing so.

Perhaps, perhaps not. I see he's lurking and adding likes to any sympathetic post (Hi Nilorius). Regardless of how well or otherwise one speaks a language, bragging and throwing insults around is not really cricket.

Introspection doesn't appear to be a fashionable or desirable quality in some of the old Eastern bloc/EU accession countries. There's a bloke who goes to a jam session I attend occasionally. He's very extraverted and hail-fellow-well-met and tells everyone he's "one of the best drummers in Lithuania". He's beyond terrible. His playing is reminiscent of a man in a wheelchair falling down a set of metal stairs. Everyone dreads being called up to play with him. He sits there, happily bashing away and playing the clown (he has been known to wear one of those silly hats with a propeller on top of it, which he spins on occasion) and pulling daft faces. If you ask him gently to tone it down a bit, he looks mystified. He seems genuinely to believe he's the dog's danglies.

They're like busses. Come along in threes. Next one is due shortly.

I went to the Reading Festival some years ago. Was very disappointed to find there were no books. Mis-representation, I call it.

So he has form?

I'm off to the golf course for a couple of hours before it gets dark.

Send us a postcard

And tea on mine

Well, we've tried to explain it to you, but you won't have it. We understand that rejection can be hurtful. You've been turned down by a band and you're not happy about it. However, you will do yourself no favours if you continue to insist that the problem lies with others and not with you. You went to an audition, had an argument with the other musicians, tried to impose your way of doing things on them and they turned you down. No surprises there. You need to be able to get on with your band mates. Anyone who looks like being trouble is not even going to get the gig in the first place. So you post on here and complain how unfair it is, claim that you're some kind of musical genius and slag off other bass players? I think I can safely say that none of us would hire you, based on what you have said today, even if you were as good as you claim, because you would be difficult to get along with personally. Based on the sample of your playing that you provided, I would be wary about claiming you are an "advanced" player. I don't expect you will listen to any of this. Your pride will not allow you to consider the fact that you have shortcomings, personally or as a player. It's rather sad.

The Shure Beta 57 is regarded as better than the 58 for female voices. I "discovered" a nice inexpensive vocal mic for female voices by accident a few years ago, which is an EV ND 367s. It isn't the best choice for those soul/blues belter female voices - you can overload it - but it's great for the type of voice you describe. You don't need to work it super close, either and it's a dynamic, which is handy in situations where there isn't phantom power.

"Weak, smiling and slow bassists", huh? Well, you've forced my hand. A couple of people have alluded to what I'm about to say, but I'll give it to you straight. You uploaded a sample of your playing earlier. Being brutally honest, it consisted mainly of medium tempo, simple pentatonic clichés with occasionally slightly iffy timing. You may be the best or only bass player in your town, but you appear to have an unrealistic estimation of your abilities. Sorry to burst your bubble.

Brilliant. That bassist must be roasting in that cossie. Like all good parodies, the playing is spot on. Great stuff.

Yep. It seems to me that many who play fretless regard themselves as somehow superior to us lowly mortals who rely on frets. Perhaps they are drawn to fretless because they see it as a way to demonstrate their expertise. Hence the over-playing, superfluous frills and clever stuff. As it happens, I play fretless as well. I've played the violin for almost 60 years, so am used to not having those little bits of brass to keep me in tune. However, I rarely use it. It only comes out when it might be appropriate.

If it is what the music calls for, it is precisely that. Being a musician is all about making the right choices - what to play, when to play it, how much or little to play and so on. All the technique in the world does not make anyone a good musician and especially not a good band player. A band is a team, or should be. The whole should be greater than the sum of its parts. If you view a band purely as a vehicle to enable you indulge yourself, you are unlikely to fit in well.

On the contrary, it's the worst time to "show your skills" Playing in a band is as much about personal skills as it is about being able to play well. By all means demonstrate that you are competent, but if you show off or start telling the other musicians what to do when you don't even know them, be prepared for a rejection.

Nowt "sad" about it and it applies to pretty well any instrument. Being in a band is about being a team player and complementing what everyone else is doing. That's what gives me most satisfaction about playing the bass.

Amen to that, especially the last part. Again, spot on. "Explosive" playing can be another word for drawing attention to oneself/showing off, or being too busy, or even trying to force a way of doing things on the rest of the band. None of these are qualities that will get you a gig unless the band happens to be in sympathy with your approach. A lot of bands don't want a "genius" on the bass, with good reason. They want someone who does the job and fulfils the role. Yes, people like Jaco P are brilliant, push the boundaries, extend what was considered possible for the instrument, etc. But would you want them in your band, drawing focus away from everyone else and even working against what the band is trying to achieve? If Jaco could be reincarnated and turned up for an audition with your band, would you hire him? I wouldn't, although I would happily acknowledge his brilliance. Geniuses are often best admired from afar.