chris_b

I've seen other players break strings, lose sound during a set and not even get past sound check. That has never happened to me but it's part of my job to ensure I'm covered if it does. Most of the guitarists I play with use 2 guitars, one even has backup pedals, and several drummers bring 2 snare drums. I'm getting paid. Someone, a promoter/landlord, is hiring the band so they can make money, therefore a professional approach includes backups.

Don't tell Albert Collins, Joe Louis Walker or Etta James. I've been playing all styles of music, including blues bands, with 5 string basses since the mid 90's. No one has made a negative comment yet.

Nope. No sympathy for the band. My guess is that anyone who is hating the show won't be at the front of the stage, but will be at the back looking for the door. If all the band can see, amongst the crowd having a good time, is one person not having a good time, then they should either try harder or get on with doing their job for the majority.

So you don't like one person in the room, what's the problem in putting on a great show for everyone else?

. . . . and it's about meeting losers and being picky at the same time. He's had 3 attempts. That's not even scratching the surface. When he's had 33 attempts then talk about the problems finding good bands. Unless you are well connected, very talented or just lucky, you have to start at the bottom, maybe in less than ideal bands and work your way up to better bands from there.

"Decent" bands don't advertise. It's all done by word of mouth, recommendation, friends of friends etc. Get into a band (or several) and meet as many musicians as you can. If your face fits you'll meet people who will be interested in working with you.

That's how I used to set up my LM2. It was a great sound in every room, with a Lakland 55-94 through Berg cabs.

There are a couple of promoters my bands work for and it's all done on a personal level. If they like you, you're in. If they don't you're out. How good the band is is not always the prime motivation to giving you the gig. If the decision to end the relationship is made it doesn't matter how flimsy the reason, you didn't say the right thing when last you met, etc, it can be an arbitrary thing.

We rise through the ranks depending on our personalities, ability on our instrument and by being in the right place at the right time. My last audition was in 1985. Since then I've been solidly gigging thanks to the recommendations of people I've met or played with. . . . . or people who know people I've played with. IMO learning to network is almost as important as learning to play your instrument.

I've got cases for all my basses but they are kept in the shed. I use gig bags instead. Every lb saved is a god send.

Lozz, you need a trolley. Don't carry anything that you can pull.

Tonight I took both basses as usual. I played the Jazz in the first set and the PJ in the second set. Just cos I could.

Who? It's a Jazz bass! The blurb seems to be pushing the finish and the player. Apart from the colour and signature is it any different from all the other Jazz basses?

I've had amps and cabs fail on gigs, but so far, fingers crossed, I've never had a bass failure. I always take both on every gig and decide which will be the #1 and which will be the spare during the sound check.

I've just spent the evening as an honorary Yardbird. Does that count? Playing with Jim McCarty and John Idon at an Alzheimer's charity gig to celebrate the late Top Topham.

Promoter: That was great. Here's another £200.

Never lend your bass, even the crap ones, especially at a jam.

All live albums are remixed before release.

Really? I took a very cheap 5 string Cort to a jam last night and no one commented, not the band leader, house drummer or any of the bass players. I'd have been more surprised if anyone did notice. Take the bass you want to play.

I agree. The natural sway of the tempo doesn't have to be a bad thing, but the OP is about a click being a negative thing. I don't think that's true.

Darby used to come to our jam night, about 20 years ago. His style was special, even then.

If using one cab is verging on overloading it, then you need 2 cabs. . . . or maybe better a better cab to start with. I use 2 good 112's with a 5 string bass in some very loud bands. They are nowhere near overloading.

If playing to a click is robotic or a problem, then the musician is getting it wrong. Timing isn't about spontaneity, it's about keeping good time so all the musicians are playing together as one. A click is no different to playing with a drummer who has good time. It may or may not be a good thing to let your time drift in and out, but changing time in "response to the audience" is not something you should be doing. Apparently James Jamerson had perfect timing. Good musicians make playing in time sound good, bad musicians make playing in time sound robotic.

I don't have practice gear. Everything is interchangeable.

Do orange leads have an earth? I thought they didn't, so don't use them on stage. I use a 3m, wind up, 4 way from Waitrose, £9.99, when bought. Red top to the container and black lead and plug. Longer ones from B&Q.