Well...its raining/cold and im bored and i saw a cool tip on another thread from a TBer on when your guitarist is playing up past the seventh fret you should play from the seventh on down with the drummer holding the bottom and when the guitarist is playing chords seventh position or under you can go up above the seventh and play...sounded like a cool tip.

How about any more cool simple tips from TBers to make it fun for us newer players and maybe something a few older players can pass on. I find it fun when i see a tip i never knew and say hey thats cool...let me try that...there has got to be a bunch out there unless they are secret:ninja: but if not help a bored fella have some info to read...and maybe help out a fellow TBer.

Man ..i was bored and thought of this thread and now i see they really are secrets....thats OK...no harm no foul..i'll just forget it:)

The secret is there are no secret just things you haven't learned yet. Many things you don't understand until you need them. Also learning something now that you can't use you won't remember it, or worse say its useless because I don't understand why its important. Be patient, work hard on your current challenges and let things come to you.

The Zen of Bass

Here's a tip when you're playing LIVE (jamming or at a gig) and you've lost your concentration and forgot where you are in the song. I'll over-elaborate to be clear, but in real life, hopefully you'll only be lost for a few bars.

"Mute your sound with your fingerboard hand, but, keep playing. Keep the thump of your normal rhythm going and keep providing the low-end even though the notes won't be recognizable.......until you remember where the f_ck you're s'posed ta be! Most folks won't notice as long as those woofers are kickin'. If the line you messed is a signature one, you're screwed, but, still keep the thump and rhythm goin'.
Better this way then to pull the whole rug out of the mix.

Oh yeah, this tip works for me at all my gigs. NOT!

does the muting thing really work

I don't think so . just grin at the drummer and have a good laugh .;) music is supossed to be fun .

Here's one I learned from my first ever gig last Friday. Don't assume the song is over. I thought the song was over but there was still a final guitar solo to go through. Unfortunately for me, the solo was one guitar & bass only.

When the singer, singer/guitarist and drummer stopped playing I though I was supposed to also. Then I'm getting ***?!? glares from everyone and the singer/guitar player says "Keep playing!" :mad:

So I started playing again but man I was sooo embarassed. :o :help: :hiding:

Here's a tip when you're playing LIVE (jamming or at a gig) and you've lost your concentration and forgot where you are in the song. I'll over-elaborate to be clear, but in real life, hopefully you'll only be lost for a few bars.

"Mute your sound with your fingerboard hand, but, keep playing. Keep the thump of your normal rhythm going and keep providing the low-end even though the notes won't be recognizable.......until you remember where the f_ck you're s'posed ta be! Most folks won't notice as long as those woofers are kickin'. If the line you messed is a signature one, you're screwed, but, still keep the thump and rhythm goin'.
Better this way then to pull the whole rug out of the mix.

Oh yeah, this tip works for me at all my gigs. NOT!


Thanks man..this is what i was talking about.There is always a tip or two we all pick up and can share.I also have kinda used yours it has been when i needed to adjust my amp settings during a song usally early in the first set or once when we had a stage problem during a gig. I mute my E and thump it open just making a thud with the kick drum and it sounds ok only for a bar or two then jump back in....nobody notices and its better than stopping then everybody notices.

Keep em coming and thanks for helping a bored guys post get started.

Here's one I learned from my first ever gig last Friday. Don't assume the song is over. I thought the song was over but there was still a final guitar solo to go through. Unfortunately for me, the solo was one guitar & bass only.

When the singer, singer/guitarist and drummer stopped playing I though I was supposed to also. Then I'm getting ***?!? glares from everyone and the singer/guitar player says "Keep playing!" :mad:

So I started playing again but man I was sooo embarassed. :o :help: :hiding:

Another tip is dont ever think the song is over when it normally is ...well in my case my cover bands leader is the drummer who every now and then likes to add extra fills to an ending or if their are chicks dancing not end songs when we normally do. In my band i really remember a tip i heard about years ago called ......Big Ears.......and i use them.:p

Well, I know this now. It happened to be a song I was totally unfamiliar with and I was barely holding on. I'd had 3 or 4 practice sessions with this band and didn't see the "final" setlist until an hour before the show.

Then they went and changed the setlist while we were on stage. I was totally flying by the seat of my pants. Plus I was only sitting in for a set, I'm not the regular guy for the band. :(

My two "secret tricks" I tell to everyone who'll listen are:

1) do warm up stretches before you start playing.
2) when you're pedaling root notes, pick out the snare drum and play octaves on the snare hits (usually 2 and 4) for an instant bigger sound.

Ian

The secret is there are no secret just things you haven't learned yet. Many things you don't understand until you need them. Also learning something now that you can't use you won't remember it, or worse say its useless because I don't understand why its important. Be patient, work hard on your current challenges and let things come to you.

The Zen of Bass

No secrets? Not true.
Zen? True.
For example, I just learned a great truth, the untold secret of good bass is to count the number of frets up on the board the guitard plays, then play below those on the bass.

Before Zen, a bass guitar is a guitar. After Zen a bass guitar is a guitar.

Well.i saw a cool tip on another thread from a TBer on when your guitarist is playing up past the seventh fret you should play from the seventh on down with the drummer holding the bottom and when the guitarist is playing chords seventh position or under you can go up above the seventh and play...sounded like a cool tip.

Besides not making any sense, this is not a cool tip. Don't approach playing music like this.

For example, I just learned a great truth, the untold secret of good bass is to count the number of frets up on the board the guitard plays, then play below those on the bass.

See above ^.

I have been playing for over 27 years now. I have learned one thing that sticks out among the rest - When you play a wrong note, don't worry about it. Play it wrong a second time and people will think you did it on purpose.
It fools a lot of people. By the way, I learned that from the former bass player for Stan Kenton. He was a friend of my dad's.
It is a cool trick that sometimes backfires though. The best thing to do however is be perfect!!!:p :rollno:

Besides not making any sense, this is not a cool tip. Don't approach playing music like this.


See above ^.

I was just passing it on notice i said sounded kinda cool...i wouldnt do it but the guy who posted it sure belives it.

I have been playing for over 27 years now. I have learned one thing that sticks out among the rest - When you play a wrong note, don't worry about it. Play it wrong a second time and people will think you did it on purpose.
It fools a lot of people. By the way, I learned that from the former bass player for Stan Kenton. He was a friend of my dad's.
It is a cool trick that sometimes backfires though. The best thing to do however is be perfect!!!:p :rollno:

I have heard this one before so it must be a good one.

"Mute your sound with your fingerboard hand, but, keep playing. Keep the thump of your normal rhythm going and keep providing the low-end even though the notes won't be recognizable.......until you remember where the f_ck you're s'posed ta be! Most folks won't notice as long as those woofers are kickin'. If the line you messed is a signature one, you're screwed, but, still keep the thump and rhythm goin'. I've done this on numerous occasions.

Biggest tip though: don't overplay. Silence speaks louder than endless sound.

No secrets? Not true.
Zen? True.
For example, I just learned a great truth, the untold secret of good bass is to count the number of frets up on the board the guitard plays, then play below those on the bass.

Before Zen, a bass guitar is a guitar. After Zen a bass guitar is a guitar.

Counting frets??? You're already an octave down. The first five fret on a bass are considered the Sweet Spot and some bass players spend their whole life there. But there are great bass parts that are up the neck its what you play not where you play. Duck Dunn classic Knock On Wood is played at the 12th fret. Many of Chuck Rainey's line would move up the neck especially on bridges and fills. Many bass players go up the neck and it doesn't relate to where the guitar play is. It all about being musical. Listen and try things keep listening, record and listen. Like Paul McCartney check out some of the old bootlegs of their recording sessions. McCartney's bass lines were different on just about every take searching for the best line for the song.

You want a tip that will make drummers and other instuments love you. Put some air into your bass lines. Not just playing on the back side of the beat, but shorten the length of notes. That will give a chance for drums or guitar to be heard. Playing legato all the time covers the drums up. :ninja:

Counting frets??? You're already an octave down. The first five fret on a bass are considered the Sweet Spot and some bass players spend their whole life there. But there are great bass parts that are up the neck its what you play not where you play. Duck Dunn classic Knock On Wood is played at the 12th fret. Many of Chuck Rainey's line would move up the neck especially on bridges and fills. Many bass players go up the neck and it doesn't relate to where the guitar play is. It all about being musical. Listen and try things keep listening, record and listen. Like Paul McCartney check out some of the old bootlegs of their recording sessions. McCartney's bass lines were different on just about every take searching for the best line for the song.

You want a tip that will make drummers and other instuments love you. Put some air into your bass lines. Not just playing on the back side of the beat, but shorten the length of notes. That will give a chance for drums or guitar to be heard. Playing legato all the time covers the drums up. :ninja:

Cool tips!

ok i'll throw in 2 of my own

1. if you're playing with a band/guitar player and are writing a bassline, but get creativly stuck, or just end up playing the same stuff you always do. Take what you've written and make every single note different. for every note either play it up/down an octive, play a different note, or just dont play it. It forces you out of your comfort zone and can spark creativity.

2. if you're ever in a situation where you have to play the same part over and over and over again, but you already have it down. make use of the time by playing it with a different right hand technique. Before my band went into the studio we practiced the same 12 songs for 2 weeks for 1-2 hours a day. i got bored so i tried playing with my middle and ring finder instead of index and middle. Now i am pretty decent with it and use 3 finger plucking in alot of my stuff!

...
2) when you're pedaling root notes, pick out the snare drum and play octaves on the snare hits (usually 2 and 4) for an instant bigger sound.

Ian

i do this quite a lot. it also helps me lock into with the drummer very quickly or when things get a little too loose.


another thing i like to do is "punch-up" someone else's part in a song. it works especially well with singers. for example in "Dock of the Bay", there's the line "just to make this dock my home". I accent three notes on "make this dock" mimicking how it is sung. It really adds to the feel of the song and supports the singer. You can also do it with guitar, keyboard and drum parts. But you have to be careful not to over do it, because the idea is to support someone else's line.

My tip ...

There is no such thing as a bad note, just a bad resolution.

My tip ...

There is no such thing as a bad note, just a bad resolution.

When I lived in Alaska people said something similar: "There's no such thing as bad weather, just inappropriate clothing!"

My "trick" is not a trick at all: play simply, giving your bandmates conspicuous "stepping stones" they can use to "cross the creek with their eyes closed" chorus after chorus; they can be rhythmic, melodic, or harmonic stepping stones, or a combination of the three.

Once the band has found the groove, you can embellish as much as you want, as long as you keep the pathway well-defined. Failure to do so is like rearranging the furniture in a blind man's house without his permission.

For confirmation, listen closely to the way Rocco Prestia and David Garibaldi blaze a rock-solid trail for their bandmates, around which Rocco can embellish freely.

I guess I'm just not getting the "observe the guitar players fret position and play lower" suggestion. So if the guitar player is playing a barred F chord on the first fret you play somewhere around the machine posts? Not very musical but flashy and the shear odditiy of it will cause audiences to wonder "if you played this backwards would it say Paul is dead?"

Forgot to add...:D

Forgot to add...:D

+:D Great tips ...keep em coming!

If you're bored of playing the same bassline over and over in a song, embellish some of the notes with chromatics leading to a chord change. Keep trying new things and it'll keep both you and your audience on their toes. The main thing is to stay musical.

My tip ...

There is no such thing as a bad note, just a bad resolution.

Remember your never more that a 1/2 step away from the right note.

If you hit a clunker, hit it again to make them think you meant to hit it.

No such thing as a bad note if you play it fast enough.

:hiding:

You want a tip that will make drummers and other instuments love you. Put some air into your bass lines. Not just playing on the back side of the beat, but shorten the length of notes. That will give a chance for drums or guitar to be heard. Playing legato all the time covers the drums up. :ninja:

This is a great tip! :)

Here is another one, as I have been thinking about this - Never play an open string unless you mean it!!!
Very simple advise, but as you think about it, it is pretty profound. At least it is for me.
Since I have moved to 5 string, I don't even play open E. The only one I play (and only accents) is that low B

When you play a wrong note, don't worry about it. Play it wrong a second time and people will think you did it on purpose.

Did this once live while the guitarist was working his way through a long guitar solo - I played it again at the same part of the riff to be consistant. I told him later, when asked, it was a "jazz thing" I had picked up. He was impressed, to the point we left it in!! Haven't seen him in over ten years, but if he's reading this by chance, I'm confessing!! It was a dud note!!

Here is another one, as I have been thinking about this - Never play an open string unless you mean it!!!
Very simple advise, but as you think about it, it is pretty profound. At least it is for me.
Since I have moved to 5 string, I don't even play open E. The only one I play (and only accents) is that low B

i'm not sure about this one...why not play an open note? I play open notes A LOT, maybe even "as much as possible".

i'm not sure about this one...why not play an open note? I play open notes A LOT, maybe even "as much as possible".

I agree. I've taken to playing more open strings lately. I used to avoid them because I feel that most of the time the fretted equivalent sounds better. Lately I've been playing a LOT, and I play in a rock band where a lot of my parts are repetitive and the songs are long. My fingers have been very sore a few times lately. I now believe in playing the open strings as a form of self preservation. Don't be a hero and fret every note just to get the optimum tone. Save your fingers where you can.

Try to never *scare* your bandmates during a song - meaning playing a run/fill/lick just slightly off-groove that forces everyone to 'jump' a little ahead of the beat.

Conversely, since I think we've all done the above, learn how to 'reel in' the drummer when he starts to speed up (they rarely start to slow down, esp. at a live gig) by playing notes, holding them, or doing little patterns that makes him (or the band) want to 'relax' a little bit. Sometimes it's not possible, like when said drummer counts off wrong; then, just go along for the ride.

Missing Persons Mental Hopscotch counted off in double time in front of a live audience - that's the idea. The song was over in about two minutes. Fah-rantic ;)

i'm not sure about this one...why not play an open note? I play open notes A LOT, maybe even "as much as possible".

I agree open strings are very cool and lots of them in tunes. I like they sound big compared to fretted notes. Good for skips, kicks whatever you want to call them. Help with keeping the timbre of a bass line together than to shift. Then lots of cool effects with open strings. Like Ray Brown would play the same note sometimes with open and fretted in a line. Then when trying to make a lick sound faster by mixing in the open string with the fretted notes. Then in reading situations using an open string has helped to try and stay in position or to give chance to shift positions.

Lots of value to open strings. :hyper:

In my cover band gig - or in my jam sessions, I make a personal game out of trying to identify the drummer's patterns as quickly as possible and locking in on them in an air-tight fashion. Every drummer I have done this with instantly recognizes that you are doing so and does the same back - it becomes like a game to see if you two can get through entire verses 100% locked in - the drummers become more consistent with their patterns to help ensure you are getting that extra punchy connection and as the jam/night wears on, you both get better at picking up 'nuances' and 'add-ons' to your patterns.

Also, when a singer is singing, a guitarplayer/keyboard player is soloing or there is a stong melodic component being handled by some other player in the band, go minimal. If you were on a full-out groove-fest, back it off to as little as you can without losing the feel. This enhances what is important at that moment (the voice, solo or melody) far more then the "lead person" playing louder or more notes. When you (and your drummer) go 'minimal' during feature parts, the features stand out really nicely and when you come back in, your parts are noticed much more. Your bandmates will notice that instantly - and so will the crowd.

Finally, along the same line as the previous comment, less is more - start slow and evolve your parts over the span of the song. If you are always coming right out of the gate with the full-shebang, you have nowhere to go and people lose interest in your part as soon as the first chorus is done. Even with covers that have a 'scripted' part for you to follow - creatively strip it down to it's more essential elements and add things back in as the song unfolds.

In live performance, less is definitely more and dynamics make the song! If you follow those rules you will have a much greater impact on the overall impact of each song then if you overplay or showboat. People recognize contrast - be the contrast maker!

EDIT: The title was supposed to read CONTRAST... not contract... freudian slip... not sure...

In my cover band gig - or in my jam sessions, I make a personal game out of trying to identify the drummer's patterns as quickly as possible and locking in on them in an air-tight fashion. Every drummer I have done this with instantly recognizes that you are doing so and does the same back - it becomes like a game to see if you two can get through entire verses 100% locked in - the drummers become more consistent with their patterns to help ensure you are getting that extra punchy connection and as the jam/night wears on, you both get better at picking up 'nuances' and 'add-ons' to your patterns.

Also, when a singer is singing, a guitarplayer/keyboard player is soloing or there is a stong melodic component being handled by some other player in the band, go minimal. If you were on a full-out groove-fest, back it off to as little as you can without losing the feel. This enhances what is important at that moment (the voice, solo or melody) far more then the "lead person" playing louder or more notes. When you (and your drummer) go 'minimal' during feature parts, the features stand out really nicely and when you come back in, your parts are noticed much more. Your bandmates will notice that instantly - and so will the crowd.

Finally, along the same line as the previous comment, less is more - start slow and evolve your parts over the span of the song. If you are always coming right out of the gate with the full-shebang, you have nowhere to go and people lose interest in your part as soon as the first chorus is done. Even with covers that have a 'scripted' part for you to follow - creatively strip it down to it's more essential elements and add things back in as the song unfolds.

In live performance, less is definitely more and dynamics make the song! If you follow those rules you will have a much greater impact on the overall impact of each song then if you overplay or showboat. People recognize contrast - be the contrast maker!

As usual, tZer is spot on. Dynamics will work wonders for ANY piece of music in ANY genre.

I don't know about 'contracts' though. I would leave that to the booker or producer or lawyer. I just want to play. :D

:bassist:

...Even with covers that have a 'scripted' part for you to follow - creatively strip it down to it's more essential elements and add things back in as the song unfolds.
...


tZer: great post (all of it), but I especially like this part. It expresses how I (try to) approach playing.

One very important "bass secret" holds true for guitar as well.

If you are going to be singing background vocals at all, while holding your strings mute with the left hand, very quickly tap the mic grill with your right hand. Feel any electrical potential? Reverse the polarity on your amp.

Discovering that there is a >100 volt differential with your upper lip SUCKS.

In my cover band gig - or in my jam sessions, I make a personal game out of trying to identify the drummer's patterns as quickly as possible and locking in on them in an air-tight fashion. Every drummer I have done this with instantly recognizes that you are doing so and does the same back - it becomes like a game to see if you two can get through entire verses 100% locked in - the drummers become more consistent with their patterns to help ensure you are getting that extra punchy connection and as the jam/night wears on, you both get better at picking up 'nuances' and 'add-ons' to your patterns.

Also, when a singer is singing, a guitarplayer/keyboard player is soloing or there is a stong melodic component being handled by some other player in the band, go minimal. If you were on a full-out groove-fest, back it off to as little as you can without losing the feel. This enhances what is important at that moment (the voice, solo or melody) far more then the "lead person" playing louder or more notes. When you (and your drummer) go 'minimal' during feature parts, the features stand out really nicely and when you come back in, your parts are noticed much more. Your bandmates will notice that instantly - and so will the crowd.

Finally, along the same line as the previous comment, less is more - start slow and evolve your parts over the span of the song. If you are always coming right out of the gate with the full-shebang, you have nowhere to go and people lose interest in your part as soon as the first chorus is done. Even with covers that have a 'scripted' part for you to follow - creatively strip it down to it's more essential elements and add things back in as the song unfolds.

In live performance, less is definitely more and dynamics make the song! If you follow those rules you will have a much greater impact on the overall impact of each song then if you overplay or showboat. People recognize contrast - be the contrast maker!

EDIT: The title was supposed to read CONTRAST... not contract... freudian slip... not sure...


Tzer, Your tips made made this thread worth doing...as well as all the others who have posted. There are some quick great info here for players who if like me might need all the help we can get.

If you are going to be singing background vocals at all, while holding your strings mute with the left hand, very quickly tap the mic grill with your right hand. Feel any electrical potential? Reverse the polarity on your amp.


On this note - an obvious, but overlooked (well, by me on occasion) related issue is, if doing backing vocals, is to actually check where the mic you're singing into is. I've walked on stage. "there's my mic". Between moving a bit round stage, concentrating on my playing and what's going on round me (musically), I have risen my head to where I think the mic is just before I'm supposed to do my "oo"s and "ah"s to discover I've misjudged it and the mic is a foot to my left or my right! D'OH!

wowzers... thanks fellas! I only hope I can practice what I preach!

I know that these concepts in live performing are a good way to go about it - I also know that the energy and adrenaline that go with live performing - or playing in general - make it very hard to stick to. I catch myself constantly realizing half way through the second verse that I have already got the throttle all the way out...

I have jam sessions with my friends where we record everything. I am constantly listening to the playback and realizing that I "give way too much, way too early" in just about every take. My overall feeling about everything I play is that there are really good ideas in there, but I pour them out way too fast and way too soon as opposed to holding back and giving when it is really needed.

Thanks again, though! Everyone has shared good tips here.

it's so easy to over do it on a song. one song that really affirmed this for me was Prince's Raspberry Beret. The Hindu Love Gods (Warren Zevon w/ members of r.e.m.) did a rocked-up of version of it.

In the original version, there is a keyboard riff played in the chorus. It is a really nice melody line but is only played a few times in the song.

The HLG's must have really appreciated that riff too, because they basically built the entire song around that line. They played the riff in the intro, 4 times during each chorus and repeatedly in the outro. While it was worthwhile version of the song, that riff was just overdone.

I really appreciate how Prince had a really nice melody, and then used it sparingly to great effect.

Lesson learned.
;)

i'm not sure about this one...why not play an open note? I play open notes A LOT, maybe even "as much as possible".
The statement is ment to use the open notes as Monsters!! At least that is how I understand it. I live on and around the 7th fret. Personal preferance. I have heard this quote from local players as well has the heaviest hitters like Phil Lesh and others.

wowzers... thanks fellas! I only hope I can practice what I preach!

I know that these concepts in live performing are a good way to go about it - I also know that the energy and adrenaline that go with live performing - or playing in general - make it very hard to stick to. I catch myself constantly realizing half way through the second verse that I have already got the throttle all the way out...

I have jam sessions with my friends where we record everything. I am constantly listening to the playback and realizing that I "give way too much, way too early" in just about every take. My overall feeling about everything I play is that there are really good ideas in there, but I pour them out way too fast and way too soon as opposed to holding back and giving when it is really needed.

Thanks again, though! Everyone has shared good tips here.

Whoops. I just re-read tZer's original post and realized that I misread 'contrasts' for 'contracts'. Too many homebrews will do that to you. No wonder nobody got the joke. He's still right, by the way.

Now, if you'll excuse me I have a brew waiting down in my hole. I'll just crawl back into it now.

:bassist:

fcleff - to be fair, after I read your post, I went back and edited my title. I intended it to be contrast - I typed contract...

;)

fcleff - to be fair, after I read your post, I went back and edited my title. I intended it to be contrast - I typed contract...

;)

So I am not crazy after all. Whew, what a relief!

I figured that's what you meant but couldn't resist the quip. Thanks for making me look like a like a dumba$$, though. I can always count on you!:D

:bassist:

i'm not sure about this one...why not play an open note? I play open notes A LOT, maybe even "as much as possible".
When I learn songs I try to learn them without relying on open strings unless you know what key you will always play it in. If you learn the song relying on the open strings and then the lead singer goes "let's capo this one", you are in trouble. Unless you are really quick at detuning ;)

There are exceptions. I rely on the open strings for "Takin' Care of Business". One band I play in plays this song in A or E but it is so fast and the rhythm so weird that the original bass line dosen't work anyway. I just pound roots since I never know when the chord changes are. This is one case where knowing the song well is a real problem :rollno:

If you are going to be singing background vocals at all, while holding your strings mute with the left hand, very quickly tap the mic grill with your right hand. Feel any electrical potential? Reverse the polarity on your amp.

Discovering that there is a >100 volt differential with your upper lip SUCKS.

So does discovering it between your left hand and right hand. What's directly in between those two? YOUR HEART! :eek:

Try touching the actual strings to the mic, or use a hand and an elbow, or something, but not your two hands! That's dangerous.

So does discovering it between your left hand and right hand. What's directly in between those two? YOUR HEART! :eek:

Try touching the actual strings to the mic, or use a hand and an elbow, or something, but not your two hands! That's dangerous.

Yea, using both hands is the worst possible electrocution scenario. Electricity (like water) always travels the path of least resistance. In this case, that would be you! :eek:

So does discovering it between your left hand and right hand. What's directly in between those two? YOUR HEART! :eek:

Try touching the actual strings to the mic, or use a hand and an elbow, or something, but not your two hands! That's dangerous.

I thought of that, and yes, you're right...but unless you are one heck of a contortionist, what you describe is tough. I've always just lightly "flicked" the mic grill with a touch, so that if there is potential, I wouldn't end up "glued" to the mic, in a crippling power-induced spasm while my heart took a major hit.

That's assuming it's a continuous, moderate, alternating current shock. If it's a single big spike, that one time could be all it takes.

Here's a way that isn't contorting:
Wrap your left hand around the neck at the nut, touching the strings. Then take that hand and touch your knuckles to the mic. Now the path of least resistance is just through your fingers, and no contorting. You'll feel any shock that's there, unlike just touching the strings to the mic.

.... learn how to 'reel in' the drummer when he starts to speed up (they rarely start to slow down, esp. at a live gig)

Amen to that:D ! I play and jam a lot with a drummer who speeds up, and we worked this out: when I feel him speeding up, I start to play nothing but root notes in a straight rhythm, dead on the beat. That gets his attention and we can work on getting the tempo right. You can't get away with this at every point in every song, and you have to feel whether to be playing quarters, eighths, sixteenths or whatever.

That's assuming it's a continuous, moderate, alternating current shock. If it's a single big spike, that one time could be all it takes.

Here's a way that isn't contorting:
Wrap your left hand around the neck at the nut, touching the strings. Then take that hand and touch your knuckles to the mic. Now the path of least resistance is just through your fingers, and no contorting. You'll feel any shock that's there, unlike just touching the strings to the mic.
A very simple cure to this problem is to carry a windscreen with you. I have my picks, cables, mic's and windscreen where ever I go. Every show is completely different, but I am prepared!!

Here's something I do when playing at church. A lot of the songs we play in church have a D and then an E (guitar chords). I will play the D root at 5 on the A string and then slide it up to E (7 on A) and then kind of hit the Open E to get an octave chord thing going. Easy, but sounds nice.