Just auditioned for Lady Gaga's 2010 world tour....

Discussion in 'Bassists [BG]' started by Mitchthebassplayer, Jan 19, 2010.

  1. Jim C

    Jim C I believe in the trilogy; Fender, Stingray, + G&L Supporting Member

    Nov 29, 2008
    Bethesda, MD
    Every now and then I read something that I find to be extremely meaningful, true, frustrating and elightening all at the same time; well said
  2. tons of schlock merchants are too.....i'm guessing the slap chop guy made a ton......
  3. Jim Dep

    Jim Dep

    Dec 30, 2009
    Shamwow, Slap Chop Vince is probably the one that got hired for Gaga's bass player.
  4. 12bass


    Jan 2, 2003
    Victoria, Canada
  5. Jim Dep

    Jim Dep

    Dec 30, 2009
    So why did they open up gaga's (gag) bass auditions to the outside unless it was some self serving publicity stunt ?..which doesn't make sense to me either.
  6. Roy Vogt

    Roy Vogt

    Sep 20, 2000
    Endorsing Artist: Kiesel, Carvin, Accuracy, Hotwire, Conklin Basses, DNA, Eden
    Sometimes management will have another act in the wings they may be scouting for. It's a cheap and effective way to scout players if not particularly honest.
  7. dunce180


    Jul 24, 2007
    how do you find out about these big time bass auditions?
  8. Jim Dep

    Jim Dep

    Dec 30, 2009
    With all due respect, it seems to me that the honest way to hold auditions is to be up front. If what you're saying happened in this case, I don't think it's ok to use a big name as a bait and switch to lure musicians.
  9. Roy Vogt

    Roy Vogt

    Sep 20, 2000
    Endorsing Artist: Kiesel, Carvin, Accuracy, Hotwire, Conklin Basses, DNA, Eden
    The best way is to be in a major Music Center (Nashville, Austin, New York, LA, London, etc.) and network with as many players as you can. Universally this all seems to circulate via work of mouth in my experience.
  10. JayAmel

    JayAmel Supporting Member

    Mar 3, 2002
    Carcassonne, France
    Maybe a deal with Gibson came late in that story.

    Let's see :

    Option #1 : The Lady Gaga staff choose an unknown but skilled (= good looking ?) bass player. This has a cost (salary, travel expenses, etc.).

    Option #2 : They choose a pretty known player (Brantley). This also has a cost, probably even higher, but Gibson pays for placement of their product. At the end of the day, it costs less than option #1.

    Tour ma-xi-mum ren-ta-bi-li-ty, that is.
  11. Jazz Ad

    Jazz Ad Mi la ré sol

    I couldn't agree more.
    I ventured very little into the pro music world, just long enough to realize that I'd be miserable if I had to work within such an environment.
  12. JayAmel

    JayAmel Supporting Member

    Mar 3, 2002
    Carcassonne, France
    Just a different point of view...

    I've been a pro for 30 years so far. Music business is by no way different from any other business : you have to deal with snakes, tarentulas, tigers, sharks, and all kinds of predators. As long as you figure that out and learn to deal with it, that's ok.
  13. Raoul_Duke


    Jun 13, 2010
    Who cares? Theres a website where you can pick any two Gaga songs and play them over one another, and every time it sounds like one goddamned song. I'll look for the link.

    Also, theres a similar website for Nickelback songs. Great stuff.
  14. Roy Vogt

    Roy Vogt

    Sep 20, 2000
    Endorsing Artist: Kiesel, Carvin, Accuracy, Hotwire, Conklin Basses, DNA, Eden
    Brantley was playing a Warwick 5 on the Today Show appearance, so Gibson is not getting their money's worth. Here's how things tend to go with endorsements (I've had one or another since 1986):
    A guitar company (even Gibson) doesn't have deep enough pockets to PAY someone to use their gear in any appreciable amount of money. Typically endorsements=free gear or more likely in these tough economic times (there's that phrase again) gear at dealer cost. If anyone would be sponsoring a major tour it would be a liquor, beer, soft drink, consumer electronics, fast food or other consumer goods that the majority of people (i.e. non-musicians) will use. Just look at who has sponsored past tours of arena acts and you'll get the idea.
    For a player (let's say Victor Wooten) the company may sponsor clinic tours where they pay Vic to do a short clinic at a music store or similar venue. A lot of non Rock Star players like Victor Wooten and Steve Bailey do nicely with these events but are not making millions.
    If a company does a "signature bass" (Bill Dickens Groove Tools bass, etc.) the bassist will likely get a modest royalty for each instrument sold.
    That's how this stuff works in general. Lady Gaga's Tour would more likely be sponsored by Coke, Apple, or another major lifestyle company than a musical instrument company.
    Also, and in the final analysis, people tend to hire friends just because they are comfortable with them, know their behavior, hang factor, etc. It's why it's so hard to "break in" as a major touring or recording bassist and is the same dynamic everyone deals with in their local scenes with the "hot" bands and players.

    JAUQO III-X Inactive

    Jan 4, 2002
    Endorsing artist:see profile.
  16. T. Alan Smith

    T. Alan Smith Guest

    Sep 9, 2001
    When I 1st saw this thread, I was thinking how cool it would be to go on tour w/her ...'til I read the jam sync part. :(
  17. Deluge Of Sound

    Deluge Of Sound Inactive

    Nov 8, 2007

    On the other hand, that would be a great resume piece if one was interested in this sort of lifestyle.
  18. It's kind of sad to see someone saying they got near to being a professional and pulled back because of the business side.

    I've posted on here before about the money side of playing. I come from business background of 34 years before returning to work again as a full time musician for the last 8 years. From that background, I find most musicians are pretty bad at doing the business part of the job. By that I mean making enough money to survive full time; and making it enjoyable. But if you do the basics right you can survive the long term and that gives you choices to what you do and what you don't. You'll have the power to turn away the grief jobs.

    There are some basics to the job that some guys don't appreciate, so if you don't like practicing a lot (2 - 4 hours a day), you don't like teaching music, don't like small audiences of 50-150, you don't relate to people well, and you're not happy living off $40,000 a year - well IMHO you're are going to fail in the long run and you're better taking that staedy corporate job.

    First do your numbers - if you're not going to teach, you are going to end up flipping burgers in the lean patches when the gigs don't come in (and burger and shop work pays half what teaching does) - and don't forget; the teacher learns more than the student. So teaching is good for you, and good for up coming students if you do it right - focus on the students needs not your income. Same if you opt for music shop work - it's about customers, not you and how you're having to wait there for stardom. Most musician I know (and I know some of the best players you'd ever come across, so it's not only the run of the mill guys like me who do this) most musicians have other ways to supplement weekly income. Some write for magazines, do clinics for manufactures, workshops, summer schools and kamps, trade in instruments, write scripts, Emceeing, work for a music school or university, whatever. I don't think I know a single musician that only gigs. But that gives them choices when the phone rings - they are not sitting by the phone looking at the distant horizon, just waiting for the big call - they are working at something that earns every day. (But they are also able to free up time to drop anything and gig tonight if needed.) You need to generate some new ways to find part time work that fits with being a musician.

    Personally I've built and update four websites, I do a bit of interview and business coaching (my past jobs), lessons on bass and guitar in all styles, gigging as a bass player, guitarist and singer, and I play Santa Claus at Christmas. When I'm getting a bit down about the non-playing jobs I remind myself of the specialist lessons these jobs pay for, where I get to travel and meet up with some truly great players that help me stay on top of playing.

    Playing is fun. Its what I want to spend my time doing. Its the best job in the World for me. Its a life like being a character in a TV show - driving down the highway in the sun, doing only the things I really enjoy, master of my own diary, answerable to no one but myself (oops - my wife just corrected that one!), changing styles anytime I like, and meeting new people most days. I can't imagine a better job.

    Now if you want to gigging and nothing but gigging - do the numbers again. To get that basic $40,000 you need a weekly gig at $1000 a pop. Or three at $333 a time. (You'll have expenses, so you need more than 40 x 1000). Trouble is there aren't many solo bass gigs - but on the other hand everyone is short of bass players because there are 10 guitarists to every bass player. To do the gig thing and keep it going you'll need to be in a band billing something like $4000 every week and that means they need a 'fan base' of about 5000 people willing to spend $50 a year with the band to generate $250,000 to keep the band just about solvent. (Or 10,000 and $25 - whatever.) That's a minimum and really doesn't mean anyone is making real money - just surviving. Tough isn't it? That's why everyone is doing the stuff at the top of this post; because running a band and pulling in $200K - $500K a year at gigs is a challenge - to make that happen year on year over the decades is a top job.

    Start out doing the lessons, and whatever to keep you going. Eventually, if you are good ,the big gigs will allow you to bank some real dosh and you're all set. Then when the band folds and you go back to teaching and gigging small venues you'll still feel like going back to your early days. Recharge your batteries at this time - and go big again.
  19. What happened - I seem to have killed off posting on this thread? Too serious?
  20. I actually had to critically analyze one of Lady Gaga's videos for a college class "Aesthetics of Popular Culture". As much as I hate to say it, I respect Lady Gaga as an artist. Her videos are really political and smart. I can't bring myself to listen to her music, but if I have to choose between a cookie-cutter pop star and an artistic/bizarre one, I'll take the latter every time.
    Too bad she does the "jam-sync" thing though. I can't imagine paying $50+ for a ticket, only to find out the band wasn't even what I was hearing.
    That said, I would totally take that gig lol.
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