Last Night's Gig, again

[kennywtelejazz]

I like the slower thing he did . The 4 , the 8 , and the 16 notes per second speeds .

When he got to 32 notes per second section of the video my Bawls woke up and asked me to learn how to do that and to start scratching ?

Not sure what type of bass he is playing ...could be what you mentioned .

Kenny

Edited September 23, 2022 by kennywtelejazz

[jackson white]

the forearm sweat band was a nice touch. genuine Warwick accessory?

 

[Bapu]

5 hours ago, jackson white said:

the forearm sweat band was a nice touch. genuine Warwick accessory?

 

I did some research and I'm now not entirely sure it's a warwick.

At least nowadays a 5 String Warwick head stock is 3 + 2 tuners not 4 +1.

[mettelus]

On 9/22/2022 at 5:43 PM, bitflipper said:

If you go fast enough, it doesn't really matter what key you're in.

Sage advice... this is just what I need to practice ? Wait... does it matter if the notes are in the same key though??

[craigb]

4 hours ago, mettelus said:

Sage advice... this is just what I need to practice ? Wait... does it matter if the notes are in the same key though??

Of course not!  Where do you think Jazz comes from??? ?

[bitflipper]

As long as you play any sequence twice,  the notes are obviously intentional and therefore it's the listener who isn't sophisticated enough to understand your genius.

In other words, it's not a mistake if you play it twice. It's jazz. If you ever get pushback from a real jazz musician, look at him condescendingly and slowly explain that it's indie jazz-punk fusion and he'd know that if he wasn't such a square.

Great tats and a surly attitude will get you farther than practicing scales.

[Jim Roseberry]

On 9/18/2022 at 10:43 AM, bitflipper said:

It should be a great convenience to let somebody else handle sound. Less gear to haul, fewer distractions so you can concentrate on playing. When it works, that's all true. Get a real pro behind the board who's actually listening, and you can elevate your performance to another level. Such was not the case last night.

 

One night, we had a sound engineer "sound-checking" guitar for 45 minutes.

Want to guess what instrument the sound engineer plays?  ?

Annoyed us... and certainly annoyed the patrons!

 

Another night, we had a (last minute fill-in) "house" sound engineer who mixed the entire show while sitting at the bar (back to us the entire night).

Clearly didn't want to be there... 

Talked with the venue owner (great guy)... and that particular fella won't be mixing any more of our shows.

 

Yet another show, we had a young lady running sound... who spent more time texting her boyfriend than actually mixing the band.

Local festival where we had to load-in five hours early... because they shut down roads

Made for a long night

 

We're easy to work with... and we like the same in the sound engineer.

Someone competent... with decent gear... who's mixing (problem solving) the entire show

At this point, there's a handful of local sound engineers that we'll use.

If we can't get one of those folks, we won't book the gig.

With three band members 50+, life's too short for carp sound.  ?

 

 

 

Edited September 26, 2022 by Jim Roseberry

[jackson white]

On 9/18/2022 at 8:43 AM, bitflipper said:

Get a real pro behind the board who's actually listening

+1 ^^^

if ya think about it, what you -sound- like is the only reason for being up there in the first place. why trust your time/money/vibe/reputation to some surly sound monkey? fwiw, we always paid our sound person first with a minimum (i.e. for charity events) and as an equal partner. these were original bands, so pretty much a given from our POV. we had our own PA which was critical for both sound and cash flow and hired it out to other bands with our sound person (or one of us) to run it. this turned out to be a real bonus for networking when getting started and led to referrals for gigs, ins at venues, etc. every so often we would run into issues with the house guy at a venue and had to sort out if they got paid or not, or were just jerky about their tiny fiefdom. a little diplomacy and professionalism went a long way.

there's some pretty great tools out there for FOH. Bluetooth mixers on iPads and digital fx have lowered the cost and raised the bar for results.

so ya, get a real pro if you can.  

Edited September 28, 2022 by jackson white

[bitflipper]

This week's gig is at a small bar. We've played there before, so I know what we're getting into.

Crowds are good there. There's a stage entrance off the alley and we can park there, so load in/out will be easy. Staff are friendly. Room acoustics are pretty OK, mostly because it'll be packed with walking acoustical absorbers, aka audience members.

There's only one issue: the area we'll set up in is small. So small that last time I ended up in front of the ladies' room, 90 degrees to the rest of the band. That wasn't all bad, as  I was basically facing the band and could hear everyone clearly. The downside was that the aroma emanating from the restroom was rather unpleasant. It could have been worse; it could have been the men's room.

Sure, this isn't quite what I'd dreamed of as a 15-year-old starting his first band. Back then our venues were often cavernous high school gymnasiums with reverberation times in double digits. I reckoned it could only get better. Well, to be positive at least *I* got better, as did my gear, even if nothing else in life did.

[kennywtelejazz]

On 9/24/2022 at 7:01 AM, bitflipper said:

Play it twice. It's jazz. This and a surly attitude will get you farther than practicing scales.

SHHH...! Lets keep that our little secret !

 

 

Kenny

Edited September 27, 2022 by kennywtelejazz