keko
Well-known member
+2
That's why I have piezo-clip digital tuner, clip it to a headstock and tune with volume pot down, it's possible to fast tune even during a play
but must wait for empty string to be played! 
- Thread starter shakinbacon
- Start date
+2
That's why I have piezo-clip digital tuner, clip it to a headstock and tune with volume pot down, it's possible to fast tune even during a play
but must wait for empty string to be played! 
Powman
Well-known member
And play way too fast as well. I just listened to some recordings of us playing live from 1 month ago...crazy fast!
Anybody using some sort of metronome or click track when playing live? How does that work...I do not have experience with this.
iamcatwarrior
Well-known member
I'm not in a band at the moment (I just left my last gig), but here are some things I picked up on that work for me:
1) No matter how much you object to his techniques, personality, hearing, suggestions, etc., the sound guy is always right. Do as he asks and don't cop an attitude.
2) Regularly stretch your hands and fingers prior to playing if you can't actually pick up your instrument right before going on.
3) Don't take outside problems to the stage (such as work, personal problems at home, etc.); if at the forefront of your mind, they will distract you and make playing difficult.
4) Find a way to wring all the stress out of your body before going on. Stuff that I've found that works include going to the bathroom (at least once), having one (and only one) drink, drinking a few glasses of water, and showering.
5) If you have at least two basses, make sure you use one of them as a backup in case you break a string. If you have an intermission in your show, use the time to replace that string. (This happened during my very first show. Thank goodness for the old SR4.)
6) If you make a mistake, don't make it known to the audience. Just take a breath and keep going.
7) Unless you play something incredibly complicated, don't spend most of your time staring at your hands. Engauge the audience and make eye contact.
8) Get your gear on and off the stage as quickly and efficiently as possible. You might consider a game plan with other band members such that you can break down in literally minutes.
9) Don't fart on stage.
10) Earplugs are rather helpful if your guitarists' amps are screaming. They help to filter out all that gain so you can better hear yourself. However, don't put them in until you're finished sound-checking.
11) Thank the audience for sticking around, no matter what the size or level of indifference.
12) Tip your bartenders.
1) No matter how much you object to his techniques, personality, hearing, suggestions, etc., the sound guy is always right. Do as he asks and don't cop an attitude.
2) Regularly stretch your hands and fingers prior to playing if you can't actually pick up your instrument right before going on.
3) Don't take outside problems to the stage (such as work, personal problems at home, etc.); if at the forefront of your mind, they will distract you and make playing difficult.
4) Find a way to wring all the stress out of your body before going on. Stuff that I've found that works include going to the bathroom (at least once), having one (and only one) drink, drinking a few glasses of water, and showering.
5) If you have at least two basses, make sure you use one of them as a backup in case you break a string. If you have an intermission in your show, use the time to replace that string. (This happened during my very first show. Thank goodness for the old SR4.)
6) If you make a mistake, don't make it known to the audience. Just take a breath and keep going.
7) Unless you play something incredibly complicated, don't spend most of your time staring at your hands. Engauge the audience and make eye contact.
8) Get your gear on and off the stage as quickly and efficiently as possible. You might consider a game plan with other band members such that you can break down in literally minutes.
9) Don't fart on stage.
10) Earplugs are rather helpful if your guitarists' amps are screaming. They help to filter out all that gain so you can better hear yourself. However, don't put them in until you're finished sound-checking.
11) Thank the audience for sticking around, no matter what the size or level of indifference.
12) Tip your bartenders.
I'm sure I'll repeat a few things here, but I'll just post what I think is relevant.
1. Listen to your band mates and try to know what each instrument is doing at all times.
2. Engage the audience; smile and make eye contact.
3. Mistakes? We all make them--play through. The audience most likely won't catch it.
4. Very Subjective: Try to balance your direct signal with your amped signal if you run that way. The goal is to keep your stage volume manageable.
5. As with a musical mistake, an equipment failure that doesn't completely shut you down needs to be fought through; farting speaker, monitor issue, or something minor. There's nothing you can do if you totally shut down except fake your way through it. Just don't stop if you don't have to. Your audience is in a groove too. Don't ruin it.
6. Work with the staff; sound man, bar owner, waitstaff, etc. of the venue you are playing. They'll love you for it. Remember, you are a guest in their house.
7. Make PSA's if you are asked. Not only are you representing your band, you represent the bar owner who wants to sell food and drinks. Help him sell; that could mean repeat gigs for you.
9. Between sets and during breaks; get out a talk to people. Make friends.
That's about all I have.
Bo
1. Listen to your band mates and try to know what each instrument is doing at all times.
2. Engage the audience; smile and make eye contact.
3. Mistakes? We all make them--play through. The audience most likely won't catch it.
4. Very Subjective: Try to balance your direct signal with your amped signal if you run that way. The goal is to keep your stage volume manageable.
5. As with a musical mistake, an equipment failure that doesn't completely shut you down needs to be fought through; farting speaker, monitor issue, or something minor. There's nothing you can do if you totally shut down except fake your way through it. Just don't stop if you don't have to. Your audience is in a groove too. Don't ruin it.
6. Work with the staff; sound man, bar owner, waitstaff, etc. of the venue you are playing. They'll love you for it. Remember, you are a guest in their house.
7. Make PSA's if you are asked. Not only are you representing your band, you represent the bar owner who wants to sell food and drinks. Help him sell; that could mean repeat gigs for you.
9. Between sets and during breaks; get out a talk to people. Make friends.
That's about all I have.
Bo
aBoMoFo
Member
1. Be ready to play before you set foot on the stage.
a. Tune your stuff backstage if possible.
b. Use the restroom.
c. Get loose (have a beer).
d. Get physically loose, meaning stretch! Have a set of hand and wrist exercises before you go on. Also don't forget to stretch your neck, arms, torso, legs, etc. etc. depending on how much you might move around. (avoid the "bangover")
2. Be prompt and on time in regards to showing up for load in. This is often the first impression on a club owner and sound man. Don't make them sweat before you even get in the door.
3. Equipment redundancy! Have a backup everything and a quick method of swapping out if something goes belly up. If one side of my poweramp fails I can quickly get to the other one. If my preamp dies I can use a portion of my pedal board in a pinch. Last but most important have a back up bass, preferably a Music Man variant of some sort.
4. Get your stuff on and off stage as quickly as possible.
5. Make friends with anyone and everyone you can.
6. Never skip out before the night is done unless you have a good reason. Nothing can be more disrespectful to a band than seeing an audience clear out of a venue before the first note of their set has been played.
And have fun.
a. Tune your stuff backstage if possible.
b. Use the restroom.
c. Get loose (have a beer).
d. Get physically loose, meaning stretch! Have a set of hand and wrist exercises before you go on. Also don't forget to stretch your neck, arms, torso, legs, etc. etc. depending on how much you might move around. (avoid the "bangover")
2. Be prompt and on time in regards to showing up for load in. This is often the first impression on a club owner and sound man. Don't make them sweat before you even get in the door.
3. Equipment redundancy! Have a backup everything and a quick method of swapping out if something goes belly up. If one side of my poweramp fails I can quickly get to the other one. If my preamp dies I can use a portion of my pedal board in a pinch. Last but most important have a back up bass, preferably a Music Man variant of some sort.
4. Get your stuff on and off stage as quickly as possible.
5. Make friends with anyone and everyone you can.
6. Never skip out before the night is done unless you have a good reason. Nothing can be more disrespectful to a band than seeing an audience clear out of a venue before the first note of their set has been played.
And have fun.
Aussie Mark
Well-known member
Anybody using some sort of metronome or click track when playing live? How does that work...I do not have experience with this.
A couple of my bands use a click track, but that's only because we have sequenced backing tracks for keyboards and horns and need to be right on the arrangements. The drummer has the click in his ear, and he counts us in as normal, so it's only a complication for the drummer. It's a necessary evil for the type of show that those bands do (one of them has 4 singers and 4 dancers up front in addition to the band).
Calaveras
Well-known member
As far as ear plugs I have found them to be a necesary evil. I put one in my right ear when I am stage left, to block out some guitar and vocal and focus on the drummer. I will put one half in my left ear. Just to slightly attenuate and so I can jam it all the way in if the stage sound gets crazy loud. you only get one set of ears!
I am a former sound guy and lets be straight, sound guy is god. He is conveying your music to the audience for you. If on your side you are a team. If made to feel put upon he may do the minimum work to get you audible and take off to hit on girls. Give them a CD/shirt. Let him know if you have any special requirements. Break it easy to him/her, don't just demand that they plug in your sample box or whatever, broach it in a friendly fashion. Be prepared to work around limitations. Often the sound guy is expressly forbidden to repatch anything in the PA system. Yeah silly I know but the guy that owns the gear is not always the guy turning the knobs.
I also always let the sound guy have an idea of how hot my DI out is if I am using an amp that has a DI out. MESA Bass 400's have really hot outputs. 2v P-P which is louder than 1.5v p-p line level. Will cream a mic input!
ps. Simplify your fancy bass lines. Unless you are a lead bass player, most folks care more about the song than how many triplets you can cram into a measure. At shows where I simplified everything down to quarter notes or bigger
people often came up afterwards to complement my bass playing. I was playing whole notes almost the whole time!
pps follow the drummer!
PPPS
Totally show up on time and dont try and change the lineup at the last minute! Very unprofessional!
I am a former sound guy and lets be straight, sound guy is god. He is conveying your music to the audience for you. If on your side you are a team. If made to feel put upon he may do the minimum work to get you audible and take off to hit on girls. Give them a CD/shirt. Let him know if you have any special requirements. Break it easy to him/her, don't just demand that they plug in your sample box or whatever, broach it in a friendly fashion. Be prepared to work around limitations. Often the sound guy is expressly forbidden to repatch anything in the PA system. Yeah silly I know but the guy that owns the gear is not always the guy turning the knobs.
I also always let the sound guy have an idea of how hot my DI out is if I am using an amp that has a DI out. MESA Bass 400's have really hot outputs. 2v P-P which is louder than 1.5v p-p line level. Will cream a mic input!
ps. Simplify your fancy bass lines. Unless you are a lead bass player, most folks care more about the song than how many triplets you can cram into a measure. At shows where I simplified everything down to quarter notes or bigger
people often came up afterwards to complement my bass playing. I was playing whole notes almost the whole time!
pps follow the drummer!
PPPS
Totally show up on time and dont try and change the lineup at the last minute! Very unprofessional!
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strummer
Enormous Member
One day, when I have a proper gig, I will follow all these excellent tips
cellkirk74
Well-known member
1. It's good to have some active DI like a sansamp or tonehammer as a last backup. Even when your rig fails you will be fine with such a box.
2. Make a setlist and stick to it.
3. try to keep the overall stage volume as low as possible when there is a good PA.
4. have fun and show it!
2. Make a setlist and stick to it.
3. try to keep the overall stage volume as low as possible when there is a good PA.
4. have fun and show it!
keko
Well-known member
Psycho Ward
Well-known member
I'll just add this to all the excellent advice already posted...
Don't take any crap, from anybody!
Don't take any crap, from anybody!
ZiggyDude
Well-known member
For me doing a gig is not just a job, it is an adventure! And an escape. So the last thing I want to do is get stressed and keep the situation so I can have a good time.
• The first step is get to the job a bit early and not late. Many a time over the years I realized I needed something and thank goodness I had time to get it. It is also nice to take your time setting up and know it all works, sound check, and then be able to kick back and relax.
• I agree with the spare parts thing. I even keep a spare amp on the truck. Extra wires, batteries, all sorts of stuff. The anvil road case is heavy but needed. Something to sit on for my avatar pic to :->
• I will never give up my wireless. It is such a revelation to walk off the stage and hear what it really sounds like. This is especially true if you are direct volume and not in the PA. All I can say is that 30 feet out it is a different world. What you think is sounding just great – well – reality time. So the wireless keeps me comfortable with what the crowd (customers) are getting.
• Tone is important. I have gotten compliments from musicians and sound guys for not distorting and keeping a clean even tone. Once again – wireless helps.
• Stage presence. Get someone to video tape a few jobs. I did cringe after the first one but hopefully got better. Look at people and smile. If folks you know show up, flatter them with attention on and off the stage.
• If you are not in the PA and relying on your amp, I often match the amp/speaker choice to the room. Requires an arsenal though (see photo album). Once again – the wireless helps.
• Run a clean tidy stage, especially the wires, I love duck tape
• And finally – the ultimate humblement – record every job. I got a hand held recorder and set it up before every job. There is no escape from the reality when you hear what you did that night. The truth is BRUTAL! But, it forces change and growth.
Just my 2 cents……….
• The first step is get to the job a bit early and not late. Many a time over the years I realized I needed something and thank goodness I had time to get it. It is also nice to take your time setting up and know it all works, sound check, and then be able to kick back and relax.
• I agree with the spare parts thing. I even keep a spare amp on the truck. Extra wires, batteries, all sorts of stuff. The anvil road case is heavy but needed. Something to sit on for my avatar pic to :->
• I will never give up my wireless. It is such a revelation to walk off the stage and hear what it really sounds like. This is especially true if you are direct volume and not in the PA. All I can say is that 30 feet out it is a different world. What you think is sounding just great – well – reality time. So the wireless keeps me comfortable with what the crowd (customers) are getting.
• Tone is important. I have gotten compliments from musicians and sound guys for not distorting and keeping a clean even tone. Once again – wireless helps.
• Stage presence. Get someone to video tape a few jobs. I did cringe after the first one but hopefully got better. Look at people and smile. If folks you know show up, flatter them with attention on and off the stage.
• If you are not in the PA and relying on your amp, I often match the amp/speaker choice to the room. Requires an arsenal though (see photo album). Once again – the wireless helps.
• Run a clean tidy stage, especially the wires, I love duck tape
• And finally – the ultimate humblement – record every job. I got a hand held recorder and set it up before every job. There is no escape from the reality when you hear what you did that night. The truth is BRUTAL! But, it forces change and growth.
Just my 2 cents……….
kylierider
Well-known member
1)Get there early
2)come prepared
Make that 4..His hands were moving enough that he didn't need to move his body. That was the excitement in watching John.
2)come prepared
Make that 4..His hands were moving enough that he didn't need to move his body. That was the excitement in watching John.
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S
sitonmybass
If while playing on stage someone else happens to be a little "off", and for some reason they think that it's you who are "off" don't display an argumentative demeanor but rather judisciously and unobtrusively attempt to pull the groove "back in." If the "off" person doesn't "take the bait," do your absolute best to work with the groove as it is. This may mean having to simplify your bass-line or adjust your timing.
The human element is actually what makes live music so compelling; imperfect creatures attempting to achieve some level of (musical) perfection. Remember there's no such thing as absolutely perfect.
And of course there will be times when you are the one that's "off."
Since I am a singing bass player who sings both lead and harmony vocals, I sometimes find myself having to sing harmony to someone else's lead vocal who happens to be singing "behind the beat" or "ahead of the beat" while having to maintain a bass-line that is "on the beat." There are also bass lines that are best played "behind the beat" or sometimes slightly "ahead of the beat" which can also present its own set of challenges in relation to various vocal deliveries.
The same thing can happen with vocal intonation as well; singing harmony in key even if who you're singing with may be either sharp or flat. And what if both are happening at the same time? Someone you're singing along with who may be "ahead of" or "behind" the beat while possibly singing either sharp or flat all WHILE YOU'RE PLAYING BASS!
And don't forget these vocal issues can also be taking place at the same time as the above mentioned "groove" issues.
Learning to differentiate these nuances and adapting to them is crucial to the bass player's primary role. Keep your ears and your mind open, always playing and singing what is best and/or appropriate for what's happening at the moment.
Do your best, no one has a right to expect any more from you.
The human element is actually what makes live music so compelling; imperfect creatures attempting to achieve some level of (musical) perfection. Remember there's no such thing as absolutely perfect.
And of course there will be times when you are the one that's "off."
Since I am a singing bass player who sings both lead and harmony vocals, I sometimes find myself having to sing harmony to someone else's lead vocal who happens to be singing "behind the beat" or "ahead of the beat" while having to maintain a bass-line that is "on the beat." There are also bass lines that are best played "behind the beat" or sometimes slightly "ahead of the beat" which can also present its own set of challenges in relation to various vocal deliveries.
The same thing can happen with vocal intonation as well; singing harmony in key even if who you're singing with may be either sharp or flat. And what if both are happening at the same time? Someone you're singing along with who may be "ahead of" or "behind" the beat while possibly singing either sharp or flat all WHILE YOU'RE PLAYING BASS!
And don't forget these vocal issues can also be taking place at the same time as the above mentioned "groove" issues.
Learning to differentiate these nuances and adapting to them is crucial to the bass player's primary role. Keep your ears and your mind open, always playing and singing what is best and/or appropriate for what's happening at the moment.
Do your best, no one has a right to expect any more from you.
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Calaveras
Well-known member
You mean like John Doe of X playing bass and singing pitch perfect harmony while Exene Cervenka was sharping and flatting all over the place?...The same thing can happen with vocal intonation as well; singing harmony in key even if who you're singing with may be either sharp or flat. And what if both are happening at the same time? Someone you're singing along with who may be "ahead of" or "behind" the beat while possibly singing either sharp or flat all WHILE YOU'RE PLAYING BASS!
And didnt it sound great?!
One of the best live bands ever, at least back when Billy Zoom was on guitar.
Lynottfan
Well-known member
- Joined
- Feb 22, 2008
- Messages
- 367
Enjoy it, above all else, **** will happen, but at the end of the day we are all "Playing" music, last year I played 2 gigs at the complete opposite ends of the spectrum in terms of numbers, 4 people one night, 16,000 the next, it was still all about playing and having fun, all the advice given has been top notch, good luck man.
