Mog

[quote name='icastle' date='Nov 13 2010, 01:26 PM' post='1022362' I read that as GENTS [/quote] I've no problem using the ladies if its closer to the the bar

[quote name='icastle' post='1021820' date='Nov 12 2010, 07:03 PM']Here's a few ideas for you: 1) Forget giving out demo disks to pubs - they get ignored, forgotten, thrown out with 20 others and really don't work like they used to. Get the landlords e-mail address and e-mail them an MP3. The rationale behind this is that a CD needs them to both find time and remember to listen to it - send it by e-mail and they're a) already sat down and can get on with something else while they listen. To make it dead professional, in the e-mail mention in passing that you can supply them with a CD if they particularly want it in that format. 2) Word of mouth is the very best advertising you can get, so make sure you do everything you can to keep the landlord "sweet" - they all know each other and they all talk. I've lost count of the number of £700+ wedding gigs that have been booked purely on word of mouth recommendations over the last year, and we're getting a couple of calls a month from places we've never played at before asking if we can sort them out a date. 3) To bolster up the word of mouth approach, get some short reviews from previous customers and pass those on to the landlord so they can see what their fellow landlords have to say about your performance. 4) At the end, when the audience is (hopefully) clapping - get them to give the landlord a clap as well ("for being a great landlord and making us feel so welcome tonight" or some such thing) - I've seen the hardest landlords turn to jelly after a public "thankyou" like that. 5) Agents "cost" and in my dealings with them over the years, don't add a huge amount of value - do you really want to go down that route? 6) Covers or originals - probably an unpopular statement I'm about to make here, but in this current economic climate, as you have discovered, pubs are generally not interested in putting on originals bands. It's tough but if a landlord has a choice between a band playing originals and selling 50 pints of beer or a band playing covers and selling 200 pints of beer then the choice is pretty clear. They want stuff that people know, feel at home with and will drink along to (and who can blame them!?!). If you are treating this as a business orientated exercise then you need to supply what your customers are looking for. There is most definately a place for original music within the pub circuit, but now is probably not the time for it.[/quote] I'll agree with that. Also you have to look/act as professional as possible WRT set up, start/finish times etc. In and out sharpish. Set duration ( I dont understand why bands who play two sets with a 15min break in between, all you do is loose the momentum ). Scope out as many pubrock bands as you can and DO NOT play what everyone else is doing. I swear if the band in my local tonight play Kings of Leon, Lady Gaga, The Killers or Journey i'm gonna go mental! Theres plenty of great tunes out there. What I used to do was go to the bars when there wasnt a band playing and write down what was played on the jukebox over an hour and a half. Volume is key. If your band is using 4x12 guitar cabs its overkill. As is an 8x10 bass cab. The bar staff dont want to be shouting over the racket all night. Work the crowd, dont stand there looking at your feet. The owner wants people having a good time. Fun = more beer sales. STAY AWAY FROM AGENTS!!!

I prefer a tinted coat over highly figured woods. Flame Maple + Cherryburst = sexwee. However, a P bass in LPD with a Maple board and MOP plate is as attractive as anything in my book. Horses for ice rinks innit.

A mate got one of the guitar kits about 10 years ago and every part was top notch. Its still his main gigging guitar. Never came across the bass kits but I reckon the quailty will be there.

At the mo its probably Mike Dean (C.O.C. not the ref) Mike Inez (AiC) Dan Maines (Clutch)

[quote name='webby' post='1018943' date='Nov 10 2010, 04:19 PM']It's a U2 covers band. It's his band. He got it together cos he loves U2. We're playing everything tuned down to Eb.[/quote] Hmmmm, Is that you Adam????? Fairly standard stuff then, I'd suggest you all talk it out. Point out where you feel he can improve. Lessons/training always help. I've always found its the later U2 songs that are trickiest to sing. Bono actually had a good voice IMO at one stage but it seemed to go in the mid 90's. I reckon quitting should not be an option unless theres a falling out. If he refuses to work on his vocals then sod him.

What exactly is the singer doing wrong? Covers or original? Have the band checked what key he is most comfortable in or his range. The guitars and bass may not suit him. Its very easy to point the finger and say someone else isn't up to scratch but the cause may be closer to home.

Fretw***ers!!

[quote name='algmusic' post='1017647' date='Nov 9 2010, 03:10 PM']I think you have missed what I'm saying.. 1st of all the scores I'm talking about are the ones you might get given on the the day and you do the gig. I'd be surprised if you'd never come across any scores you were given that don't have mistakes.. try doing a theatre show :-) Also I'm not implying reading from a score is life less and dull, I did not say that at all mate. I actually have no bad feelings to reading music or readers, I am one. I feel in my humble opinion you have to read the feeling between the notes. Use your ears, listen to the rest of your fellow musicians in the piece of music and none of that is on the score. I have many classical musician friends that show me this on regular basis and they are definitely 'readers'. You can play the same notes but one way brings the music alive and the other is like a machine played it. I do think maybe the term groove seems to imply that it has to feel funky of some sort.. In my mind this term means making the music feel good not f***y just right for the music, regardless of genre.[/quote] Maybe I took you up wrong or something, anyways. I've always sourced my own scores lad, I'm a bit anal that way! I get what you're saying about playing between the notes but it should be done at the right time. In some cases it shouldn't be done at all depending on genre. Then theres the question, "When does a groove become fret w***ing?" Subjective I know but maybe a valid question? I also agree with you re the definition of "Groove" IMO it should be something simple and tasteful, a riff or run that very slightly changes the mood of that particular section of the song. Thats where versatility can play a major role IMO. Having a knowledge of other styles and applying them to what you're playing etc. In general guys I really hope this isn't going to turn into a Them Vs Us kinda thing. The forum is well above that IME. What passes for good or bad/right or wrong is subjective. It really shouldn't be descending towards a cock measuring contest.

[quote name='phil.mcglassup' post='1017655' date='Nov 9 2010, 03:15 PM']How much should I expect to pay for a 300W head? Does the model make a big difference? i.e. GP7, GP12 And what about cabs? i.e 2x10 and 1x15, what is a sensible price to pay for them? I have spent a lot of time searching but there is little info on models/year etc and the completed listings on the 'bay don't tell me much!! Finally, I know I'm a bit of a newb regarding rigs, but why are some heads classed as 'pre-amps'? As usual, any help appreciated!![/quote] Where you based? We talking sterling or euro? A preamp wont have a power section that can run speakers. 300 watts of TE power is plenty. Gp7= 7 bands of eq. Gp12= 12 bands of eq and maybe a few more features.

[quote name='jakesbass' post='1017611' date='Nov 9 2010, 02:41 PM']I don't think [i]any[/i] of the basschat advocates of the learned path has ever said that Doddy, that it is a charge frequently held up by the non schooled basschatters (at least those who make these points) suggests that there is a feeling of that amongst them. It's a shame because we all can appreciate good bass playing however it is created, but for some reason our viewpoint is challenged time and time again as being somehow soulless. Read through again to find many examples of criticism of reading musicians but broad acceptance by the readers that there are plenty of good players amongst the non readers. If there were a study into the fairness and objectivity of the charges on these pages then I'm pretty sure that the weight of evidence would suggest that the reading lobby is much more accepting of all comers.[/quote] I kinda get what you're saying. Its kinda like the way the ladies, despite the sympathies, will never truely understand what a kick in the nuts really feels like.....................................

[quote name='silddx' post='1017583' date='Nov 9 2010, 02:25 PM'] EDIT: You're not actually serious are you?[/quote] [quote name='algmusic' post='1017594' date='Nov 9 2010, 02:32 PM']I agree ten fold.. I don't read alot these days but the amount of times, I get called in on to play music and the score is struggling to say what it needs to, but it can't.. The score is a guide and framework, [b]you have to add the passion and flavour and [i]interpret it yourself to make the music as the writer intended[/i].. AKA groove!![/b][/quote] Yes deadly serious. You do have an understanding of what all those odd shapes mean dont you? With no complaints yet from any paying job I'd say my personal approach is fine. Not trying to sound snobbish but thats tripe. If you source a bad score thats your issue not mine. You're also assuming that by reading from a score the perfornance will be dull/lifeless. Interpret it yourself and keep it how the original composer intended? Really? Groove is becoming my least favourite word. [u]You really need to know when to groove and when not to.[/u] Its getting to the point where its becoming an excuse for people IMO. Again just opinions, make of them what you will.

[quote name='silddx' post='1017531' date='Nov 9 2010, 01:56 PM']Nope, NOTHING on paper can help anyone play reggae. NOTHING. Simple in essence, impossible to convey without actually hearing it. You cannot intellectualise it at all. Whereas, although huge levels of feel are required, it is possible to do that with latin music, which can be very complicated and relies upon its proponents having the clave in their head. I believe this is why western jazz musicians are often drawn to its mysteries, like a challenging puzzle, because it appears to them to be worthy, unlike something like reggae, which every white man except Paul Simonon will find almost impossible to execute with style and feel.[/quote] What else do you need outside of time sig, the notes, timbre. Its all there on a score. Is that Mark King guy that everyone raves about not noted for his reggae playing? I get what you are saying about latin music, its what i started playing all those years ago. I only really got a basic understanding of flamenco a few years later when I was lucky enough to see a guitarist and 3 dancers in spain. Those few minutes were better than any lesson. I think in this context what you see as feel I see as dynamics, a technique widely used in flamenco. Same thing, different name. Both acquired just through different means and labeled differently. End of the day, I've just a different opinion on it. Like I said, theres no right and wrong.

[quote name='silddx' post='1017412' date='Nov 9 2010, 12:41 PM']there is absolutely no way to put down on paper how to play reggae that has the desired effect on the other band members and the audience. Funk is similar, it's a way of life.[/quote] I cant agree with you on that point bud. Tab yes but sheet music no. A proper score will give you everything you need except instructions re eq/tone. I think someone touched on the point earlier about your ears knowing what to do next. IMO, (and its just an opinion) terms like grooving, funking, jazz improv, whatever are usually used by musicians who dont (not cant) dont use sheet music and let EXPERIENCE guide their hands. That experience is ultimately theory. If and when musicians let their experience/ears/feel/the groove guide them, they are falling back on what they know will work, ie knowledge acquired, which ultimately is exactly what theory is. Theres no right or wrong here peeps......... No matter what way its buttered its gonna fall on the same side. (My vague comment for the day )

Only came across one once. Nothing negative to say about it. It seemed to do the job fine and for £100 its probably worth a shot.

[quote name='stingrayPete1977' post='1015683' date='Nov 7 2010, 08:39 PM']The guitarist in our band can play for hours on end without repeating a phrase and in different styles and scales etc and has no idea what they are called he just does it. There are plenty of folk sticking their tongue out on this forum because he isnt a reader but trust me when I say he would have planty of them licked in most situations other than a formal sight reading pit job which I can assure you he would hate with a passion. So what does all this mean? Are the readers saying he cant play the guitar? His name is Matt Thorpe (Comes up on Google) if any readers want to have a listen and tell me they can automatically outplay him just because they have theory nailed. [/quote] Thats a little bit defensive. My view is that you cant "groove/feel" without knowing what notes follow on from whatever the current note is. Wrong is wrong, simples. Because he hasn't studied music/cant sight read has no impact on the fact that he can play modes, scales etc. in the correct key. IMO if he is able to pull off all that, then he has a great understanding of music theory. I dont understand much about physics but I can still cast 30 yards of flyline into a headwind when I go fishing. Never taken a lesson in my life. Theres not many qualified instructers who could outcast me. I just gained an understanding of the Theory involved through a few years of experience. Same thing.

I dont see how the two aren't linked. Surely both go hand in hand?

Second hand TE gear goes for very little nowadays. If you are happy with the TE sound then go for it. The 2x10 + 1x15 is a good mix. Personally I'd run two 2x10's stacked vertically. The 15 might not actually have a lower freq. response than the 10. Just keep an eye on that when buying a cab and you'll be fine.

[quote name='blind pilot' post='1013540' date='Nov 5 2010, 05:45 PM']ERM 5:52 long and not once did i sex Rex Brown! Shocking camera work![/quote] So the fact that you cant see the bass player takes away from the excellent bass line and tone? I'll get on to MTV right away.......................

This....... (we need a phil smiley)

Not sure about that one. I think waynepunkdude put [i]one one one[/i] of his basses before. Maybe he could inform you. Jaysus I'm too hungover for this spelling lark one on one????

Love the Almost Famous Soundtrack.

Dowl(?) rods and a wee hammer. Go in from the back and lightly tap at the edges/base until its loose. Edit: A mate did the same switch. Looks great. He also uses Black DR's to keep the theme.

Handy gig in one of the locals last night. Fancy dress affair. [attachment=62608:pirate.jpg] Another gig in drag, love it! Next up is ourselves and Diamond Head. Cant wait!!

At the god knows how many gigs I've been to 99.99% of bassists stand there nailed to the spot. They may as well be sight reading. I can run through a song while sight reading and still at least move about a bit. After I've been through the song a few times I wont need the sheet. Just like tab. The assumption that theres no enjoyment to be had in situations where you are using sheet music is a f***ing joke. Some of the best gigs I've played have been from behind a sheetstand. Enjoyment should be a measure of how well you play (ie can the others in the band count on you not to f*** up), crowd interaction and sense of achievment. That goes for pit, session, rock whatever.