Franticsmurf

Yes, me too. My experience is that most times the audience don't spot it unless it's a particularly spectacular fail. Watching a recent video of us playing, I squirmed my way through the version of 'I'm a Believer' I sang (for the first time) as my vocal was not quite a semitone flat. But on the night I was told by several people, friends and strangers, that I had a great voice and sang well. I suspect the time of day plays a part. Towards the end of a gig, as the alcohol has flowed, most of the audience are no state to discern mistakes. 😃

Namaste Manish. Welcome on board.

I used to share the ride to and from gigs with the singer and sometimes the other guitarist in my old band. Inevitably after a bad gig there would be arguments. Never anything that resulted in a long walk home, but there's be 'lively discussions' about the night's performance. The most common topic revolved around the singer's total lack of preparation which usually resulted in missed lyrics, random arrangements and random song choice deviating wildly from the set list (we played a mix of heavier blues and modern rocky pop - Born To Be Wild, Dakota, Psychokiller, Walking By Myself, Heartache Tonight to give you a flavour of the set - and then he'd throw in 'Leaving on a Jet Plane'). My point is that it's never good to get into that kind of discussion immediately after a gig as emotions are running high - and this applies to positive emotions as well as the negative ones. 😃 The cold light of a Monday morning sobers everyone up and the real decisions are made then.

Hi Funkyjsp.

Its good when it all comes together. 😃

Thanks Dave. In a way I cheated - I'd been playing with the singer/guitarist for years, although not in this line-up. I knew pretty much what he would do (although as I said he can be unpredictable). I spoke to the girl singer (whom I also know) and she gave me a list of songs that could be done on the night along with keys. I'd say 50% of the set I'd played before in some form, perhaps 30% I was able to go through in the afternoon and make notes and 20% was 'wtf?'😀 I only failed on 'American Pie' and one of today's chores is to familiarise myself with in just in case. (I may be depping for the same line-up in two weeks). The hardest part was on the songs where backing tracks weren't being used - the singer/guitarist tends to play his own arrangements which vary each time. In the past it has sometimes felt as if he's doing it deliberately as challenge to those playing with him - albeit without any malice. (Certainly the last second key change for Hotel California was definitely to test me - when I asked after why he'd done it, his reply was mainly bull). The drummer in my band once commented that when the singer was with us in the band, we played Hotel California a lot but never the same way twice. Pre-lockdown I would never have had the confidence to do the gig but I spent some of that time trying to learn the fretboard, playing along to songs other than those in the band set list and generally practising technique. Two other things helped on the night - I had decent monitoring (another thing I worked on during and just after lockdown), and I took the attitude that I was just there to make up numbers and had no responsibility other than to be professional. I have so much respect for those who can get up on stage and play a range of songs in a range of styles with no preparation at all and I see that as a worthy goal to aim for myself.

This was my lineup for last night's gig. Still in the development stage but I think I'm edging closer to 'nearly there'. Signal path is Tuner>MS60B>Octave>Soul Food>Bass Clone>Delay (the pale blue pedal)>Tube Amp Sim>DI box. The MS60B provides a compressor (Dcomp) with a clean patch, a slightly filtered patch, a deeply flanged patch and an uncompressed acoustic amp simulator. The octave was there to thicken the sound as we were a duo last night. The Soul Food gives a bit of bite or grit to cut through the inevitable guitars and the Tube amp sim is set up to just colour the sound nicely for the older tunes in the set. The delay is set to slap-back, which at £10 new is what it does best, but it will be replaced by something with more options in the coming weeks. The DI was a late addition (as you can see by the jaunty angle). It may well be relegated to the underside of the board to free up space for another pedal (because you can't have too many pedals 😀). Incidentally, the board is home made from off-cuts of plastic fascia board covered with black gaffa tape. It's slightly angled so that there is room for a powerblock under the top row of pedals.

I had a last minute dep gig last night in a working men's club in the Welsh mining valleys. My mate, (ex-singer of the current band) has his own trio with him and a female singer fronting, and usually a second guitarist. No drums, 75% backing tracks and from previous experience I knew it would be largely busking with random songs and arrangements - it's why he was 'allowed' to leave the band (😀) as he could never stick to the set list and would change songs around on the fly, or even announce completely new ones to the consternation of the rest of us. It was a long drive in the rain but with the help of the lovely lady in the sat nav box, I arrived outside the club to recognise it as somewhere I'd played around 20 years ago with the same singer in a three piece band. Easy load in straight onto a large, well lit stage but the changing room had no lighting. The stage lighting for the acts was great - they even had some kind of laser projector (or a simulated one) which painted little red dots onto the stage. Several times during the gig I noticed that the other two had red dots on their foreheads as if they were being targeted by a sniper. It would have been amazing if they'd had a fog machine to highlight the light beams. I decided to use the gig to try out a couple of new pedals and my small TCE BAM200 head - I've used the head in rehearsals but not at gig volumes and as it's my spare for gigs, I thought I ought to make sure it was up to the job. I used my TE 1x12 and Warwick 1x12 cabs. I knew I'd be having to cut through some pretty full backing tracks so I had a recently acquired EHX Bass Soul Food pedal set to give a bit of grit. I was playing my Stingray 34HH and the combination worked as I had hoped. I also had IEM so I could hear the tracks and my singing (the bass wasn't going through the PA, by choice). The gig itself was ok. Right from the off there was a horrible rumbling buzz from the PA just low enough that we could get away it with once we'd found we couldn't identify the source. A few songs in I realised it wasn't in my IEM so it wasn't us. (It was a loose connection from the laptop the DJ had been using going through the house PA which hadn't been turned off - we got it fixed). I knew most of the songs, managed to busk most of the rest and managed to cope with the strange versions of songs the guitarist played (he tends to simplify some songs and for some reason changed the key of Hotel California on a whim). The only one that really threw me was 'American Pie' so rather than make pathetic off key noises as I tried to find the roots, I turned the volume down and did my best TOTP mime act. 😀 The audience were enjoying and interacting with us but there were only a few dancers, although there was a lot of singing along to the Eagles songs we played. As an aside, I used to love playing the working men's clubs in the Welsh valleys years ago as they were usually lovely old buildings with the original decor and fittings, nice changing rooms and polite audiences who appreciated (if not liked) what we were doing. Sadly a lot of these clubs have closed over the years, some not surviving Covid, and those that made it have been 'renovated' and had their charm removed or covered over with suspended ceilings. Last night's venue still had hints of its past but only if you looked hard. In the first photo below there's an ornate frame on the far wall. I suspect it once surrounded a large mirror which, along with others along both walls, would have made the place look larger.

....'and tell me where you are'! 😀 Yessongs is one of my favourite Yes albums. Thanks for this.

As above. Initially, do whatever to develop a basic technique that becomes second nature. I've heard of people practising scales and arpeggios along to a metronome to get a sense of timing, which is an important part of the bassist's role. That's your 'get out of jail' fall back if everything goes pear shaped during a gig. Learn to dampen the non-playing strings (one of the things I had to work hard at as a former guitarist now identifying as a bassist - but it paid of in clarity and punch). Once you have the basics, try other things. Take the same things you've been doing but play them with a pick. See how it feels and note the differences so that you are able to choose the appropriate technique for the song. I'd suggest varying genres you are listening to so that you widen your playing style. Once you have a basic technique you're happy with try and play with other musicians - ideally who are better than you. You learn more quickly and you develop confidence in what you are playing.

Hi Barrister - another Stingray fan here.

Hi Peter.

How many times have I been put to shame by a singer coming on stage to help me out with my backing vocals, or to make constructive criticism of the band's set? 😃 We sometimes benefit from the wisdom of punters who know exactly what the next song should be. I was fortunate enough to have a punter step up to adjust the sound of the PA so he could hear himself scream through the mic. So sad that he actually mistook the catches of my metal leads case for the volume controls and completely missed the off switch on the mic. Must have been the lighting because I'm sure it wasn't the alcohol he'd been consuming (and spilling on the dancefloor).

On Saturday I have a last minute dep role in a trio fronted by a mate and ex-band member. No drums, 50% backing tracks and 2 vocalist guitarists plus me on the bass. I have some idea of what the set will look like but my experience with my mate is that it will be largely busking with random arrangements - it's why he was allowed to leave the band. 😀 It was annoying and inappropriate in the band setting but this is his own project and I'm approaching it as a favour (which I'm happy to do) and in the role of paid sideman (which helps me cope with the less professional elements).

Yes - Going For the One. Peter Gabriel - So. Pink Floyd - Dark Side of the Moon. Edit @Yango you beat me to it! 😀

Welcome Tyler.

Hi Rav, welcome to the site.

Hi Royle. Step away from the for sale posts. No good will come of it. Well, maybe a little bit of bass/amp/cab/effects shaped good. 😃

You're right that the 1x12 cab doesn't have a tweeter. My non-scientific experience is that while working on sounds from my pedal board, I had to adjust the EQ to remove excessive pick clicking and occasional fret buzz. I understand that's in the 2khz range. Gigging, I use it with a Warwick 1x12 with a tweeter so it's hard to separate the two at volume. But at home practice volumes, the Warwick is brighter (as you would expect). I wouldn't describe the TE as dark, though. It's all subjective so the best thing you could do is try one out.

A muscle injury recently made me rethink my bass amp and cabs. Initially I went for a TCE Bam200 and a Warwick 1x10 cab (together they came in at under £250) and enabled me to rehearse and play a couple of gigs. But all the while I was trying to find out more about the TE 1x10 cab, which I'd read about on this forum. After the positive reviews here and elsewhere I finally received mine about three weeks ago and gigged it for the first time last Saturday. On its own a great punchy sound and combined with the Warwick and a Peavy Minimax head I was really pleased with the way it handled the range of sounds I used on the night. In my opinion, the sound was much clearer and cut through the band mix (loud drums, electric and acoustic guitar and three vocals) far better than the Laney RB7 with its 1x15 extension cab I was using before. I think the RB7 combo will go but I'll keep the 1x15 as it does give me more low end if I need it.

Early in my band career we auditioned for a bassist and ended up picking the fretless player. In all honesty, fretted or fretless was not a consideration. As I remember (and it was a while back) it was initially a compatibility of influences and at the audition it was whether the player could add to the stuff we were doing (original and a few covers), play competently and whether he fitted in with the rest of us. He ticked all three boxes and was with us for about 6 months. We parted company for a few reasons, none of which were to do with frets.

Last night was a return to a popular seaside venue, The Smuggler's Beach in Port Eynon. New band (we'd only played together in that line-up for a 2 hour rehearsal on Wednesday, but all experienced from previous line-ups), new set (finalised at the same rehearsal). Parking was a lottery as the village was never designed for vehicles and has a large caravan park nearby. Quietish first 30 minutes followed by a steady build up of folks until by the middle of the 2nd set they were dancing beyond the stage area into the back of the venue. Great atmosphere and band-friendly staff, including the rare 'drinks for the band on the house' service. About half of my other band (a big 13 piece) were in the audience and they were all up front. Great feedback from them. On paper this should have been a car-crash gig. About three weeks ago we didn't have a singer and the guitarist and I had been preparing to cover the vocals ourselves (if I have to sing, it's definitely an emergency). Then we had found a singer prepared to stand in for the gig. Two weeks ago we found a 'permenant' singer for the band and a few days later he pulled out. So on the night we had another new singer (and we'd modified the set to include a number of her songs). The guitarist and I took a few songs as well. I was pleased with my version of 'Bad is Bad' but 'I'm a Believer' - well, I think 'tries hard but could do better' is the correct phrase. 😀 First proper outing at volume for my mini rig- Trace Elliott 1x10, Warwick 1x10 and Peavey Minimax head. I was really happy with the punchy sound.

Me too, and I don't normally suffer from bad nerves. I think in order, my concerns would be no singer, parking, tech. Having just been through a 'no singer' scare, I have started learning some simple songs to sing (I struggle playing bass riffs and singing, and that's before my poor vocal skills). I've had to park in some dodgy places in the past ("park as far away from the fence as possible as the kids like to throw half bricks at the cars" was one memorable line from a club owner). We usually have enough kit between us to cope with most tech issues. Good luck and let us know how it went.

In the clips where the guitar goes flying off out of shot, there are priceless moments where the spinners stop and look in disbelief. I think this is the crucial learning point from this instructional video - you must perfect that look of incredulity that it hasn't worked quite like you thought it would. 🤣

Muscle injury has forced me to downsize amp and cabs. This is the rig for Saturday's gig - first time live for the TE cab but it sounded good in rehearsal. We've played there before and the space for the rhythm section is limited, hence the headless. As you can see the TE cab has already sprouted some leaves and I'm hoping for a nice crop of 1" tweeters in the new year. 😀