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Low paying gig...take the cheap gear?

#181
john_g said:
We have a gig Friday night at a relatively small place for our absolute minimum pay. This is essentially our "foot in the door" as they own multiple venues and we could get steady gigs at these places. I "want" to take my most expensive bass as I havent gigged with it in a bit but I keep thinking, "cheap gig-cheap gear". Now, my cheap stuff still sounds good so its all good either way. But, do any of you think this way? Yeah I know, first world problems lol
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Bring the gear you want to be heard through, bring the bass you want to play and to associate yourself with. Choices reflect attitude, so why bring a dismissive attitude to a gig?

It's not about the gig- it's about you. You wouldn't underestimate the boxer in the ring you're stepping into... so don't underestimate a gig (I get it, it can be easy to do, but...). Always bring your favorite weapon, make it easy to enjoy your time playing. Besides, opportunity might knock...

If you're worried about gear being stolen, why would you take a gig like that... Hey, just a contribution.
 
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#186
40Hz said:
The earlier analogy you drew still remains invalid. And a magnifying glass works the same no matter which way you flip it. Did you maybe mean a telescope rather than magnifying glass?
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There are two kinds of analogies. Those that are more refined, well thought out, and just all around more enjoyable to use. I prefer to use those analogies in special instances and in more interesting threads. Otoh, for general use and no-paying situations such as this thread, I find it fit to use any analogy I choose. If that doesn't meet everyone's approval so be it, I don't care. It made my point, and that's all I wanted it to do.
 
#187
onda'bass said:
I bring cheap gear to cheap places- just basses though. I always have my A game regardless of instrument. Why would a cheaper well setup bass hinder your performance?
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Yeah, amps and other equipment stay the same no matter where I play. Its the bass. People obviously have different opinions but the final product for the client wont be any different. As we all know, no one but a small amount of bass players even know what a Wal MKI is. Just cant help think "ok, low pay gets the cheaper bass even though I would like to play the Wal". The end result is no different to the client or audience.
 
#188
john_g said:
We have a gig Friday night at a relatively small place for our absolute minimum pay. This is essentially our "foot in the door" as they own multiple venues and we could get steady gigs at these places. I "want" to take my most expensive bass as I havent gigged with it in a bit but I keep thinking, "cheap gig-cheap gear". Now, my cheap stuff still sounds good so its all good either way. But, do any of you think this way? Yeah I know, first world problems lol
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Bring your best and rock out.
As many have said already, you never know who might be there.
 
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#189
john_g said:
Yeah, amps and other equipment stay the same no matter where I play. Its the bass. People obviously have different opinions but the final product for the client wont be any different. As we all know, no one but a small amount of bass players even know what a Wal MKI is. Just cant help think "ok, low pay gets the cheaper bass even though I would like to play the Wal". The end result is no different to the client or audience.
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The point here, I reasoned, was that it made a difference to the player. Perhaps my conclusion wasn't on the money. But if it was, there it is.
 
#193
Well, you wanna put your best foot forward and as long as you're not playing in a cage bring the good gear, but just maybe not all of it?
blues bros.JPG
 
#195
john_g said:
After reading most of the responses, I think some people are equating bringing cheaper gear (but still adequate) with not doing our best and thats not the case. We always do our best and give it 100%.
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I have two basses that I gig with regularly. One of them cost new about 1/3 what the other would cost new. I don't sit around and think about how much they cost. The less expensive one has flats on it and it works better with certain types of music, so I take that one to certain shows. The more expensive one has pressurewounds on it and I take that to different sorts of shows. I choose them because of what they do for me and how they will perform for me in a given situation. I also have an inexpensive bass with rounds on it and EMGs and if I were playing a lot of 80's music in any band I'd probably take that one. My choices have zero to do with the cost of the bass.
 
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#196
funkmaster p said:
I have read a bunch of undeserved harshness towards the OP on this issue. It is standard procedure for many famous musicians to subject their lesser instruments to the rigors of touring, while reserving their cherished instruments for high profile recordings and appearances. Why can't this apply to us non-famous players?
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Different ball game, I'd venture. Us weekenders get our rocks off when we're able, and for that reason I'm reliably bringing my favorite player.
If you're involved with the "rigors of touring" (not sarcasm, just quoting), it can be understood you'd have more at stake: the numbers go up, you're in a different environment on a nightly basis. You're not saving it up for Friday night...
 
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#197
funkmaster p said:
I have read a bunch of undeserved harshness towards the OP on this issue. It is standard procedure for many famous musicians to subject their lesser instruments to the rigors of touring, while reserving their cherished instruments for high profile recordings and appearances. Why can't this apply to us non-famous players?
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I think someone mentioned that some of this has to do with perceived value; what's cheap to me isn't considered cheap to the next person, and so on. If I had instruments in the five figure range, I wouldn't own them because I wanted to gig with them. Those would be instruments I'd use to record with. Again, selecting the tool for the job. I can't see getting anything out of an uber expensive instrument in a live setting that would equate to enough quality improvement in that setting to be worth bringing that instrument. Live sound isn't generally clean enough that you're going to notice those differences. But in the studio, sure.

Also, as I mentioned, If I were doing big stadium shows with all that this entails, it might make sense to up my game. But I'm not. I don't think those are the situations the OP is talking about, but he does have a five-figure bass, and if I were him I wouldn't take that one to a bar show. It's not the right tool for that job, though it would get that job done. It's just overkill.
 
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#198
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#199
DJ Bebop said:
They are not cheap anymore
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They have gone up a bit. When Paul bought his it was probably well under $100.

Bill Wyman wins for cheap basses, imo. In this video he's using what I believe was his own creation from various parts, featuring a fretless (he pulled them out) neck. Supposedly he recorded a lot of early stuff with this bass. That might be the first fretless electric bass guitar.
0:34 has a good shot of it, and at
3:02 Brian Jones looks like he's spotted the Phantom of the Opera somewhere up in the ceiling.
 
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#200
El Güero said:
They have gone up a bit. When Paul bought his it was probably well under $100.

Bill Wyman wins for cheap basses, imo. In this video he's using what I believe was his own creation from various parts, featuring a fretless (he pulled them out) neck. Supposedly he recorded a lot of early stuff with this bass. That might be the first fretless electric bass guitar.
0:34 has a good shot of it, and at
3:02 Brian Jones looks like he's spotted the Phantom of the Opera somewhere up in the ceiling.
Click to expand...

I know huh?
I think I read that Paul wanted a Fender but couldn't afford one or find one so it was that cheap German-made bass :)
 
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