Franticsmurf

When I started out in my first band playing a mix of originals and covers (in the late 80's), there were quite a few 'young' bands around but the venues were lacking. Most of the pubs that had music had the same pub rock/blues rock bands playing in a circuit and it was pretty hard to break in to that ring. There was definitely an element of 'if your face fits', and most of the new/young bands (including ours) didn't. Nor did we want to, of course. We scraped gigs together at a couple of the more open venues and by getting events and private party gigs. I guess a lot of bands went elsewhere or gave up. There's paying the dues, which is fine, but it was hard work to get decent gigs and progress because of this apparent monopoly on the venues. Rock stardom didn't knock at my door and when I started playing in covers bands the gigs ramped up. It helped we had an agent. But these gigs weren't suitable for bands looking to do their own thing. Now, I am in a position to gig and to try and help upcoming bands through an annual 'rock school' thing my mate runs. Kids who have instrument lessons through his music shop spend a week forming bands, learning a few covers and writing their own song. They are already competent at their chosen instrument so the aim of the week is more about what it is to be in a band. They have to learn to compromise on covers and band name, figure out the promo and sort out what they need for the gig itself. The goal is to perform at an 'end of term' multi band gig. Last year we had four bands from the school and one of them (the one I mentored as it happens) carried on playing and is back with their own slot at this year's line-up. There are definitely more 'young bands' around here now, and I think that has something to do with better venues and there being more dedicated music venues (rather than the local pub).

I'm also interested in how it performs at a gig.

Welcome to the site.

I turned up to a graduation day gig at one of the local colleges - outside, summer party themed. The BL had bought Hawaiian shirts for the band. But being a gentleman of large proportions and not so forward thinking, he'd bought five all the same size. I looked like a Hawaiian tent with a headstock sticking out. At least we looked like a gang of sorts. Well, not 'sorts' but the appropriate phrase is probably not for this post. 😀

Absolutely agree. I have the bruises of revelation, gained when I hit that wall hard. 😀 I think it taught me more about being a musician, a bassist and being in a band than any formal learning.

I assumed when I started playing that I would be playing prog rock - the genre I was into at the time (and still am, but don't tell anyone). But very quickly I found it doesn't really work like that unless you're playing your own stuff. So after reading your post I had a think about what I actually play. As things stand, I think I can tick off all bar the folk music on your list. As you say, depping or subbing widens the span of styles we play. Interestingly for me, although I dislike country and dance music, I enjoy playing it.

I remember watching that series when I was starting out. As I recall, it was great for the mechanics of being in a band. And all those names sharing that practical knowledge and experience! I can't help feeling that a similar series these days would be more like an IT course.

Hi JBM, that's quite a mix of musical styles. Do you have a particular favourite?

Hi Gospel77. Hope you find the answer. 😀

Hi David, nice to have another with that name on board! I'm Dave. 😀

Hi Jose, welcome to the site.

You could afford a bus? When I were a lad, I used to hop on t' back of milk float.... etc etc 😀

As a Digbeth user still experimenting with settings (as I don't often get a chance to play at a decent volume and where I can experiment without causing distress to other band members), it's really useful to be able to see the effects of each control. I can now come up with a some more starting points to work from. Thanks. I have gigged the Digbeth a few times through FOH and the sound guy (a friend) likes the clean channel sound. I like the scooped lower mids using the switch in the upper position and a moderate cut (25% or so). I'm still looking for the best tube sound.

I tend to nod and smile, whether or not I have heard or understood them. IEM helps. 😀

Hello and welcome. I spent a few years being a student and living in Woodgreen - not North East, but sort of. 😀

Hi Obby, welcome.

I believe the mathematical equation for this is V=(N*(Vmax*N))+11 Where V is the volume in arbitrary volume notches on the master knob, Vmax is the maximum volume you though was possible from the combination of the guitar amps and N is the number of guitarists. 11 is, of course, the universal Spinal Tap constant.

I have a Harley Benson JB75 fretless (lined). Mine is great, set up remains as it was out of the box, nice tone. Very, very heavy though.

Yes, I am currently playing with the mids cut and the bass and treble centred. I love that there is some much variation possible but the downside is that it is taking a while to get the sound I want.

My Electromatic weighs in at a gnat's under 4kg. It's a great shorty, looks good and has powerful (passive) pick-ups.

My shortlist contained three names. Third was Geddy Lee, second (partly because he's a number 1 choice above) is Tony Levin. Leaving Chris Squire as my choice. I love his basslines, backing vocals and the sound he gets from his Ricky. He's been one of the main influences of my bass career.

Ouch, hope you're better soon. For lightness, how about one of those cricket bat headless Hohners or Steinberger Spirits? I have a Spirit headless with a full body and it's quite light. Style-wise not everyone's cup of tea, but it'll get you through the sore times and could then be a handy back-up for gigs.

So many of the above have I experienced first hand or seen that I've stopped hitting the 'like' button to acknowledge them. I guess we all have our triggers and, dare I say it, we have probably provided a pet peeve for others on occasion, whether justified or not. I remember witnessing a huge verbal fight between the drummer and keyboard player in our band a few years ago. It started with glaring looks and the odd word between numbers in the second half of the set and ended with a loud (and frankly entertaining, as I wasn't involved) screaming match on the pavement outside the venue during the carry out. I believe it was a drum volume issue. A few gigs later, my radio transmitter failed on stage (dead battery which I had tested as usual before going on, so probably a fault of some kind). I had a lead and plugged in and missed perhaps 20 seconds of the song. The same keyboard player turned on me during the break. 'Unprofessional, cr@p kit, why bother turning up'. I was his pet peeve for the night (perhaps justified in his head). Some of my pet peeves, in no particular order: - the band member who doesn't help with carry in/out - not sticking to the agreed and rehearsed set (allowing for some leeway due to venue/audience). A subset of this is the random arrangement, where verses, choruses and lead breaks seem to swirl around in an arrangement known only to the band leader. - the singer calling out 'we do requests' setting up the rest of the night to be a glorified karaoke/juke box event. Inevitably linked to... - not playing the requested song properly, or at all. - club entertainment secretaries - most are fine, but one or two are only in it for the power and love nothing more than to wield it. Often characterised by becoming unreasonably directive only in the presence of others.

Yes, I went through the living nightmare of playing that one twice a week in a duo. Usually to an older audience who insisted in singing/shouting the sweary bits in the chorus. But it was popular at the time and we were expected to play it. I took the money and perfected my cheesey grin. 😀

Hi and welcome.