scalpy

Like you, I'm expected to be pa, lighting, chief roadie etc etc. So I've only got into lights over the past year or so but here's what I've gleaned so far. Uplighting at the back of the stage works really well. We use a pair of these- https://m.thomann.de/gb/stairville_led_bar_2408_rgb_dmx_30.htm?o=0&search=1482222461 Cheap and Thomann do a bundle. They run fine linked together on a standard xlr. My two sets of 4 per bar leds don't! Somebody on here said if you're playing in a space that is lightly coloured a par can pointing across the ceiling works really well- I tried it and it does! Lastly, rock n roll lighting is about what's happening behind the band so if you can get some effect going at the back of the stage that really helps. At the moment we use a £50 'globe of death' from maplins but will be investing in something more refined in the near future.

[quote name='alittlebitrobot' timestamp='1482177992' post='3198275'] [size=1]also, I'm not a fan of Jaco[/size] [/quote] I saw that, and completely agree.

Going to have a crack at that study myself! If you're not doing so already just be careful there's no overlap between the two notes by lifting slightly with the non sounding note. Now, time get off the forum and actually do some bass playing!

I have the equivalent Hondo guitar, a tele! Finished to look like Prince's, baby puke yellow, rubbish animal print scratch guard and a very pointy headstock. Yet can't part with it either!

[quote name='Skybone' timestamp='1481618872' post='3193683'] I do think his inauguration will rekindle the punk/angry/protest music, like Regan & Thatcher were great for the US & UK punk scene's. [/quote] And Public Enemy- we certainly need somebody to articulate what's happening at the moment. I would love it if someone did the gig for a truck load of cash and used the opportunity to pillar him personally.

[quote name='JamesBass' timestamp='1481614919' post='3193646'] Exactly! It's so much fun to work lines in somewhere, even if it's just for my own amusement! I often drop a bar of Snarky Puppy in whenever I do the chain! I use some aspects of Jaco's continuum in Isn't she lovely by Stevie Wonder too! But I never approach bass playing or music from the stand point of how can I sound like 'said player' or 'what would said player do here' however I have been heavily influenced by a vast number of bass players and everyone of them feature a little bit in my playing to help make me, me! [/quote] +1 to snarky puppy! The main line from Lingus can be dropped almost anywhere!

Bassist, arranger and MD, then lights, video and Facebook on a gig. My wife is one of the singers and does all the 'bandmin'.

Where does this idea you have no rhythm come from? Don't equate it with finding dancing difficult for example! Download a metronome or drum machine onto your phone, just tap along to start. Once you can find the pulse easily you're off. Do the same with nice loud tracks you enjoy, (because they're likely to have a strong pulse) and it will get easier and easier. After that, then start experimenting with how the beats divide to become more complex. Some of my students really benefitted from learning some basic drum patterns to play on the desk for example, which helps with context. But the important thing is to be involved physically with what you're hearing, and like most people on here I absolutely promise you you'll get the knack. Enjoy it!

[quote name='YeastieB' timestamp='1481453875' post='3192330'] Agree. We're doing Black Horse and Cherry Tree with the Seven Nations mash-up and some lines just felt natural to insert in for fun and to see if I can get away with them. Band mates haven't seemed have noticed. So "quoting" is the word rather than stealing. Well as long as I don't have to put both my hands I in the air and wiggle my first two fingers before I play them. [/quote] 'Quoting' is favourite pastime during some musicals, especially with one guitarist. On one run of 'Grease' we had a Led Zep contest. I managed Dazed and Confused, a bit of ramble on and whole lotta love but he wasn't as subtle and opened up the guitar solo to Grease Lightning with the Black Dog riff at full pelt- game set and match to him.

[quote name='bassace' timestamp='1481310809' post='3191476'] Sorry scalpy, it's an old musicians' joke. [/quote] lets be honest thought, it's well within the realms of possibility!

[quote name='bassace' timestamp='1481275082' post='3191091'] Wasn't there the instance of the percussionist who went to sleep during a five minute rest in a long piece. He then woke up, disoriented and hit the first thing he could find which was a large gong. Which brought the whole orchestra to a stop. So he turned to the audience, bowed and solemnly announced, 'Dinner is served'. [/quote] Gawd I hope that is true!

[quote name='Burrito' timestamp='1481199159' post='3190408'] I used to think more like this but I think a lot of it is because guitarists as a rule are more out going and bassists are more reserved. If you talk to the audience they will talk back. I used to moan in my main band about this but it was because the singer and guitarist were working the room after. I tried a bit harder and things changed. And throwing shapes on the bass looks awesome! In a mid life crisis kind of way for me, but an awesome mid life crisis [/quote] This is why I was the current gig for this week as an example. I'm the same person, I'm quite outgoing as bass player and do dance about. No comments, and no I'm not whining about it, just observing. I think the solo thing might have something to do with it, because nobody is commenting about the one other song I 'just' play rhythm on. As for upright, learning how to is on my to do list, but the theatre gigs I do won't let me use it in the pit, I've already checked!

To clarify, I'm happy bass playing, I don't mind being unnoticed, I do 80+ gigs on bass, all of my work repeat bookings pretty much. With this particular job however I was observing and commenting on how the two instruments are treated by the public. I was wondering why. That is all! (As an aside though my attitude to Panto is a pound earned doing that gig is the same as a pound earned playing jazz or a session or whatever and deserves as much attention. Buys my Christmas presents for another year.)

Got the annual Panto run this week. (oh yes I have) 80% of it is on bass, 19% is trying to get the audience participation going and there is one 8 bar guitar solo in a ballad. All I hear is guitar solo this guitar solo that. It was the same when I was playing in an originals band trying to avoid getting a proper job. I could probably count the number of new people who talked to me after a gig on one hand. I did two gigs on guitar and met my wife! Why are people so massively biased towards guitar? It can't be just the frequency range they occupy surely?

I just hope no one in the audience is familiar with Scott Devine's free lessons.

[quote name='TrevorR' timestamp='1480726238' post='3186817'] It amuses me that I grew up with the perceived wisdom that 70s Fenders, esp 3 bolt ones, were shoddy rubbish and to be avoided at all costs. But now they're old enough to be considered "vintage" and are therefore desirable and commanding a premium price... How times change. [/quote] Yep, and G&L were happily producing 3 bolts at the time with great results.

My wife says I look like an electrified scarecrow onstage. I've also picked up the habit of singing the basslines to myself. Suffice to say, in the right circumstances I can look like a right prat performing.

Rests are an occupational hazard for brassists, you're right. I once went a masterclass with the late great James Watson who said the parts for the Covent Garden orchestra were marked with '15 minutes' etc to allow them to do trips to the bar! As to the thread topic, I don't think an anacrusis is technically tied to the first beat of the bar and my old grade V theory teacher would have rapped my knuckles if I didn't subtract the value from the last bar.

This is useful and anything that features Robben Ford is usually worth watch- as is the monster stack of Trace kit if I recall. https://m.youtube.com/watch?v=Q-bxHMnbYI0

[quote name='paul_c2' timestamp='1479762892' post='3179135'] Ok, "wrong" is a bit strong and its not necessarily wrong to notate as the Enter Sandman example, but its definitely incomplete and without the rest of the music, its a bit difficult to properly judge. The fact that the time signature is 4/4 but the first bar has 1 quaver in it, isn't right unless the last bar has 7 quavers - but then its incomplete. And the double bar before the key signature is definitely not right. I'm happy to concede that there's sometimes different ways to notate something and the "rules" of music notation are flexible enough that sometimes something which at first appears not right, is simply "convention" rather than being strictly right or wrong. I guess so long as its clear and understood then its alright. And yes, the Espana piece is a complete pain in the arse to play, the notes are very simple but the number of rests, and the fact that the other parts playing are far from clearly defining the pulse makes it difficult. On page 2 there is another "desert" of 25 or so bars rest. The first time we practised it it was a dog's breakfast, some people were 1 bar ahead, others were 1 bar behind. [/quote] 25 bars rest a desert? Try being 2nd trumpet in the Mozart piano concerto. 100 bars in a block, no double barlines or similar. So you sit there in rehearsal going 89 2 3 4, 90 2 3 4 and the conductor will stop and go 'back to 10 bars after A' and you have to do it all again!

[quote name='TheGreek' timestamp='1479321983' post='3175672'] If you were ever in doubt that they are works of art: https://ritter-instruments.com/newsletter.php [/quote] Holy moly that's a crazy bass!

[quote name='Marsik' timestamp='1479248807' post='3175131'] Tweed is great when it's new! I felt in love with White Hot finish. [/quote] The tweed's holding up fine, I don't think it's the same stuff as old fenders for example. However I am getting footprints on the top of the tweeterless cab, which goes underneath. I'd suspect the white hot finish may be even more susceptible, so careful! Enjoy the cabs though, can't part with mine.

[quote name='warwickhunt' timestamp='1479243121' post='3175060'] I could swear that my DB112's used to have a 'pair' of Speakon connectors... are these very old or very new versions? [/quote] Mine are getting on a bit but have the same panel. Still swear the tweed improves the tone too.

There's a really useful video by Scott Devine on this one. https://m.youtube.com/watch?v=VmBy7XA0ceI For me it boils down to- reach pinky, slide to next note, cross string and repeat. Reverse for descending. As to why, it's always useful to be over capacity in terms of technique, it affords a degree of grace that is more pleasant to listen to. Think Ferrari doing 100 miles an hour rather than a Ford Focus. You cover the same amount of ground but i believe the former would be more graceful! If you want to hear this in action have a listen to the numerous play along videos springing up to Vulfpeck's Dean Town. They can play it, but Joe Dart's over capacity technique affords him the opportunity to put more inflection and style into the lines which gives it so much more life. (At least to the plays alongs I've watched so far, and if I did one I'd view my own playing the same way!)