chris_b

I attempt to have gear that is a good match and sounds right when flat. Then I only need minor tweaks after that. Extreme EQing and many changes usually means I've bought the wrong gear.

I get that. It's usually my knees.

I've had the fingers up and down trick. I just tell them that it means nothing to me. Just tell me the key! I play with a guitarist who sticks 4 fingers up, meaning go to the 4. "Watch me" is a favourite. Then I know that absolutely anything can happen. I also love the guys who try to use ESP. They just stare at you!!

Checkout a Barefaced 112 for an even lighter cab.

Hey, Matt, If I were you I'd take the personal stuff out of this post and put it in a PM. I know were all good guys here but the whole world can see this stuff. Just sayin.

I assume they've heard you play before? And they still asked you? So they're expecting a bass player that sounds like you. Make them happy and do just that. I'd never try to play like someone else on any gig. It usually doesn't work and you're more likely to trip yourself up trying to play out of your style. Never mind if it's a big gig for them, it's a big gig for you. Focus on feeling comfortable with the material and you'll be fine. Get a set list with arrangements and keys. Learn the songs, who counts them in, who ends them, play in time, stop and start with the other guys. . . easy. Don't try to dazzle them with your best uniquely creative lines. Just support the song, the music and the band.

+1 Great little amps. . . . for their time. . . . but so many better options out there these days.

AWB did a brief residency at the Marquee just before the white album came out. With Robbie McIntosh on drums. That guy could make anything groove.

There are quite a few clubs around our area (30 mile radius) mainly featuring blues, funk and soul based bands. They'll take over a sports clubhouse or WMC for regular night(s) a month and put on gigs. They charge (£5-£10) to get in and are well attended with a knowledgeable audience who wants to be there. They are being run by music fans for music fans. These clubs have a great vibe, are a joy to play and are popular with every musician I know. One of the promoters said to me, I've got a list of 200 bands trying to get in here and we're booked up for 2 years.

Err. . . . Hamish Stuart is playing a Fender Mustang

I had 5 mins. . . . . I'm still waiting for the other10!!

Depends which part of the house I start from, but as I practice in the front room it isn't far. When a rehearsal is called for, which isn't often these days, as far as it takes.

That's Hamish Stuart and Alan Gorrie.

I've been in the house band for a jam for a few years now and while things can get samey at times they can also take unexpected and interesting turns. Like the guy who turned up for a couple of months with a Didgeridoo and joined in. They gave him a solo in each number. Then there was the 8 man drum troupe who just about squeezed on stage and sounded fantastic. Shame they only came down a few times. We've had all genres from acoustic bands, violins and rappers to swing jazz singers and one guy who insisted on playing questionable Cuban songs in very bad Spanish accent and all ages from kids to an 80 something year-old to cross dressers. Some of them are a PIA but most are good guys. We have musicians playing a song they just learnt, bands trying to impress the landlord and get a gig and one band auditioning a drummer. Of course we also get the obligatory guitar maniacs who play interminable Hendrix songs on 11. Fortunately there aren't too many of those. One young lad who started coming down as a 13 year old with his dad was a regular jammer. Andy Cortes is now playing guitar with James Bay. I don't doubt others have bad experiences but we usually don't. It's a good gig for a Monday night.

If no one is happy with the bass sound, ask what the last payer used. I'm assuming they didn't moan about him on every gig. Lay down the challenge and tell them you'll consider all suggestions but let them know the current situation and negative comments has to change. Tell them you want to make the band sound work and you need to like your sound as well (don't get into too much detail) so they should tell you what they prefer then shut up and leave you alone to develop your own sound. The traffic cone could be plan B.

The problem with moving from here to there is the cliquishness of musicians. It's very difficult to move from being an outsider to an insider in many areas.

That was me, and I did play it twice in a row for the jammers. True, I don't like it (even the Hendrix version is pretty poor) but I've done much worse, like Spanish Eyes etc in working men's clubs. Well, the Guinness was cheap and I earned enough to buy rather a lot of it! I'll try anything but I will try to avoid songs that the guys in the band obviously can't play. The only thing I'll refuse to play is something that will make us look silly on stage. I play with guys all the time who refuse to play songs, sometimes for some pretty silly reasons and in some cases they choose songs which they shouldn't. The better players make better choices, so I try and stick with them. In one band I wanted to veto Tainted Love by Soft Cell. I was asked to give it one go and the audience reaction said it all. It is an instant floor filler and sing along, so as that was our job in the cover band the song was in the set. Lesson learnt. You may not like every song but if the audience does you're doing the best job you can.

I knew a drummer who moved from London to Manchester because the gig scene was better up there. I've done OK over the years in the South East but there are good music scenes all over the country..

. . . . a banjo player in a former life?

Hey Joe? Sheer luxury! I was in a jam night house band when we had two guitarists in a row get up and play Red House. That's the song I hate the most bloody twice in 15 mins!!!

The Satin has been out for a few months. I think most are made to order so there won't be many around just yet and I believe the Metro Express was going into the shops last month.

There are other Sadowskys. The NYC Satin range is around £3000. The Metro range is around £2400 and the Metro Express range is around £1700.

Some people learn the songs and some people don't. Some people learn the song and then can't remember it. I gigged with a well known singer and keyboard player from a previous age and you had to be on your toes on those nights. He could go into a chorus, middle 8 or and of the breaks at any time! As far as charts and words go, do you want to get it right or blame someone afterwards for getting it wrong?? Moving away from singers, all my gigs these days are deps. Long term, short term and one-offs. I know the regular sets, but for a one-off gig I'm not going to learn 40 songs from which the band may choose 20 on the night. You're going to get a music stand and charts in those instances. IMO it's a small price to pay for a much better musical performance. When the bands I've been in used a dep, we chose easier songs which were simpler to busk. Makes sense to me and designed to get a better performance out of the band. Some of the guys I've depped with have made no concessions. One band refused to tell me what songs they were going to play! Apparently I was the unprofessional one because I wanted a set list! So how was I supposed to prepare for that? I blew them out. There's a lot more to a music stand than just a piece of metal.

If they get 2 tunes, tell them that their messing about has just used up their first tune.