TimR

I have one for about 6 tunes in case I get a mental block. But find that a full run through of the set the day before and about an hour before I pack the car iron out the cobwebs. If I don't do that the gig becomes very edge of the seat for me.

Don't pick up your bass or a notebook until you have learned the tune by listening to it multiple times. Be that on your way to and from work, or while doing the ironing etc. By the time you pick up your bass, you should have already learned the structure and chord progressions and be just sorting out which positions on the fretboard you're using. Ear training is very overlooked by bass players. You should be able to recognise; semitone, tone, m3, 3, 4, 5 and octave intervals as a minimum without having to pick them out.

@solo4652 Is this an established band you have joined and done 6 gigs with or is or a new band who have only done 6 gigs? The setlist looks a bit cobbled together with little thought. More of a 'who knows this one?'. Either that or it's an established band that has failed to get rid of the really older stuff when choosing newer tunes. I'd be dropping the tunes @hiram.k.hackenbacker has highlighted in red as you pick new ones. I prefer to stick to a style rather than try to please everyone - and fail - by trying to cast the net too wide. Pick well known tunes you enjoy playing rather than tunes you just think will go down well, or tunes you have seen bands play and have gone down well.

The Video version is different to all other recorded and played versions.

The album version has 8 bars of 7/4 and then a bar of 8/4. The reason I'm leaning towards 14/8 is because the guitar lick is clearly 6 8th notes, 6 8th notes and 2 8th notes.

The intro and mid break. 14/8, 7/4, or 6/8, 6/8, 2/8, or something else? Guitarist seems to be having trouble but I think he may be trying to play both guitar parts at the same time and making it overcomplicated. Feels like 14/8 to me but then there's 4 bars of 16/8 at the end of the midsection. Which could be a bar of 4/8 instead of 2/8. 😆

I started a band along with a drummer in 1996. The band is still going with only the drummer as an original member. 1 drummer 6 singers 5 bass players 4 keyboard players 4 guitarists Various brass players in rotation, basicaly they all read charts so it's whoever is available for the gig. Although I don't think they have played any gigs this year, the drummer runs the band and I doubt he would leave it without disbanding it.

I for one prefer Jazz noodling to: 1. Scales 2. Slapfest as per Davie504. 3. Judas Priest licks as per SpectreSoundStudios. 4. What makes xxxx the greatest as per Rick Beato. 5. Any U2 bass line.

He joined the last discussion there was about interviewing people...

I listen to the PodCasts and think they're pretty good. Especially when they go off in a tangent. Like BassChat, there's only so many times you can discuss theory, tone, strings, amps and basses. It's good to hear real stories of gig experiences and other everyday nonsense and opinions. The recent one about travelling with your bass was good. And the pair of them do have a good rapport, plenty of other podcasts don't really have that.

He is. And is probably smiling at all of this.

Both. The bass has to function 100% and sound 100% first. If those are not right it doesn't matter what it looks like, it's a no go. Then it has to look OK. Or rather has to fit with the gig image. I have a Charvel SB2, an 80s bass with pointy headstock. It doesn't look good in a function band. It sounds and plays pretty good though.

We were a dad rock band. 4 50 something blokes playing Hendrix, Zeplin, Stones, Free etc etc We got in a female singer and binned all the dad rock and do Pink, Agilarra, Kelly Clarkson, Freya Harding, Skunk Anansie. All with a rock edge. We are better for it. But yes, childcare is a serious issue for single mothers, but then I have the same in another band with a dad who has to look after the kids when his wife is out in the evenings so rehearsals have to fit around his wife. I was the same when I was in my 30s.

Read this again. The Guitarist has already bought the system.

Which kind of takes us full circle. No one wants to be taken advantage of, and most people will contribute or help in some way, unless you start making unreasonable demands and have unreasonable expectations. Good to talk. That way you know what everyone's expectations are, or at least what they tell you they are (often these are different 😆).

No. The Stones is different. They have lots of musicians on stage. Many of whom are not 'in the band'.

Yes. It'll be a retainer. But the point is they're expecting him to stop all other work. And if you joined a company you'd expect to be paid similarly to people doing the same job. So whatever wage they're paying themselves - less any writing royalties. I don't think anyone would be happy doing their day job knowing the guys around you were being paid 100x or more what you're being paid.

And thats why the free market works. I'll concentrate on playing my bass and pay someone who enjoys doing PA to concentrate on the PA. It's a win win. Been there, done that, thankless task.

It's horses for courses though. You just cut down your musician pool if you're making financial demands from them up front. If the original band members own the gear jointly then everyone who plays should be putting something in for upkeep from gig money regardless, and the new guy should as well. That money should go into a pot, not be given to the original members to spend on beer. If everyone owns their own gear, then they're responsible for the upkeep of their own gear. Including if they own the mixer being used. Because the guy who owns the speakers is responsible for upkeep of the speakers and so on. And if one person wants to own the PA and ask everyone for a donation (or not) that's good as well. I'm not sure where I stand with refusing to pay for gear because you already own your own PA. I'd rather pay someone £20 of my gig money to have them store, carry and set up the PA, because I've been that guy carrying speakers and amps into my garage on my own at 3am. And I'd rather be in bed.

Band goes on tour. Eat in expensive restaurants. Stay in big hotels. Own expensive gear. New guy stays in Motel, plays Squire and eats McDonalds. No issue?

I was thinking about this the other day. When you're surrounded by millionaires you don't really want to be staying in the budget hotel and living in a condo. Doesn't really look good.

Yes. Kick and Bass guitar occupy similar ranges. The point to remember is live and recording are different animals. In the live situation your bass guitar will bleed into the kick mic. And it depends greatly on how well your drummer has tuned his drum. Experimentation is key, but not at a gig sound check when everyone wants to get on. Might be worth setting aside a rehearsal purely to get technical issues sorted out.

Metallica now only use a PA and drum kit. All the amps are for show as they use AmpSimms.

Senheiser are pretty good directional mics. Usually the hpf is around 80hz, so wouldn't want to cut bass guitar, but the bass drum can benefit from high pass as the thump is around 120hz. But it's the vocal mic you need to be able to boost and if that's picking up bass from the guitar and drums that won't be helping. The more low you EQ in for her voice, the more of the low bleed you'll get. So the HPF will be below her voice but above the rumble from drums and bass. I hpf everything apart from bass guitar.

As I say. You now get a valuation on the gear. Probably worth at least 20% less than you paid for it (£2400). And the remaining 4 members pay the guitarist £120 each. £2400/5 is £480. Which is his share. Unless they're reasonable guys and use the original purchase price. Whatever the arrangement is with the new guitarist is irrelevant. The 'band' doesn't now own the PA, 4/5ths of the band do.