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Nashville bound - 6 string "not cool"?

#81
A lot of time it's not all about us anyway. There will be a whole lot of situations where showing up prepared, on time, playing great with a good tone and groove and being a nice guy will outweigh the name on the headstock. A jerk with a Sadowsky is still a jerk.
Still, it never hurts to know the language and customs. Now, "Tang the hump on the chorus and let's give this one a #1 Ending with a pushed Batman"? You're on your own there! :D
 
#82
Translation: "I would like the drummer to hit the bell of his cymbal on the chorus. When we get to the end of the tune, how about an Authentic Cadence of V-I and would you all be so kind as to play a rhythm of anticipated quarter and dotted half for the Fine? Thanks." :D
 
#84
Roy Vogt said:
A lot of time it's not all about us anyway. There will be a whole lot of situations where showing up prepared, on time, playing great with a good tone and groove and being a nice guy will outweigh the name on the headstock. A jerk with a Sadowsky is still a jerk.
Still, it never hurts to know the language and customs. Now, "Tang the hump on the chorus and let's give this one a #1 Ending with a pushed Batman"? You're on your own there! :D
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Wow Roy you lost me at "Batman" too! Thanks for the translation though:)......and thanks also for your experienced input of the Nash-scene.
-Joe
 
#85
Roy Vogt said:
A lot of time it's not all about us anyway...
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This is so true. Before I got into the business side of bass, I thought it was all about great playing. When I really got involved, I realized that getting work is about creating relationships and not screwing up someone else's effort. It doesn't mean that you can't enjoy the art of bass or that you have to be unimaginative. But getting work is usually not about great playing, the huge majority of the time.

It sounds harsh. But I think this is it.

John
 
#86
I honestly can't remember the last time I saw an Ibanez played around town. I do mostly see FSO's. I play a Tobias 6 all over town. I either get no comment or compliments. Although you never know what people say behind your back... This is the south, it's called manners :)
A lot of people think I'm playing a 5 though, as the spacing's a bit narrow, and I don't get gratuitous with the high notes. But if you can groove (and sing harmony, can't stress that enough) you'll be ok. Knowing lots of songs is more important than chops. I had seven gigs last week, and I was kind of shocked on #4 when someone called a bass solo.
 
#87
jfh2424 said:
This is so true. Before I got into the business side of bass, I thought it was all about great playing. When I really got involved, I realized that getting work is about creating relationships and not screwing up someone else's effort. It doesn't mean that you can't enjoy the art of bass or that you have to be unimaginative. But getting work is usually not about great playing, the huge majority of the time.

It sounds harsh. But I think this is it.

John
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Speaking from experience - it's both. You need to make it feel really good and be a good hang as well.
 
#89
One of my posts was deleted, so I'll modify it to this:

I agree with Roy Vogt. In NYC and even the LA session players have to have, as Roy indicates, an FSO and bring it to every gig, whether they use it or not. My experience has been especially so for Nashville. Remember, I am an old punk guy who played punk/pop/alternative, so while I am known to some of the Nashvegas crowd, any sessions or tour work to them I'm a newbie. I specifically added a FSO with P pickup config for anything that may come up. The last Fenderything I had was a Kubicki with a Fender Custom Shop stamp. And I am pretty sure my Gibson 20/20 Steinberger bass, although it can do every sound and more, will NOT endear me to work in TN.

Like everything else, conform at first and when people start to know you you can loosen your tie a bit in public.....
 
#90
OmNomNom said:
T
I know there is a lot of politics involved, and with touring acts you tend to want to not stand out too much as the focus is on the star. ..

...This might seem silly but it is a legitimate concern of mine.
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Good for you, knowing right off the bat what the priorities are. It's not a silly concern at all. Bringing the right tools for the job is good practice no matter what you're doing. As you say, it's not about you, it's about giving the artist and audience what they want, both sonicly and visually.

I've only played in Nashville once (just sitting in for a few songs) but I spent 3 years with a Chicago country act. When I tried out I got alot of good feedback on tone, knowlege of the tunes, etc but they also specifically mentioned liking my bass (a MIM fender with covers).

Also, virtually every (though there were a few exceptions) bassist I saw in Nashville and in other country acts I came across when playing with the band here in Illinois was playing a FSO. If you're going to Nashville get yourself a FSO in 5 and 4 string and bring it everywhere you go.

Best of luck to you!

For more discussion of the merits of showing up with the right bass, this thread has some interesting thoughts.

http://www.talkbass.com/forum/f8/defense-showing-up-right-bass-430581/
 
#91
I've played my Warwick 5 string basses on anything from local cover gigs to showcases to a professional artist touring gig. No complaints, no weird looks, nothing negative at all. Other than my dad's 79 Jazz that I learned on and played my first gigs with him on when I was a teenager, I've never played a Fender live here.

It's more important to be professional and know the material than it is to worry about how you will be perceived for having 4, 5, or 6 strings.

Recording is a different story since producers are picky. The Jazz/Precision advice here is wise. The nice thing is you can get either used for a couple hundred bucks anywhere in the country.

You don't want to show up with a Cort or something from the bargain wall at Guitar Center, but if you have professional equipment, are professional, and are a good bass player, you'll do just fine.

Anyway, on the topic specifically of 6 strings in Nashville, look up Keith Horne :)
 
#94
OmNomNom said:
This one is for the guys active in the Nashville scene.

I plan on relocating to Nashville very soon and have a few contacts I can use to cut my teeth and dive in, hopefully not getting too eaten up in the process. My main axe right now is a 6 string Ibanez, my other basses are cheaper toys and I am yet to invest in another really good axe due to financial constraints. I am mostly a fusion, funk, and jazz guy but I also love country, both the newer pop stuff and the traditional stuff.

My main goal is a touring artist gig, small or large.

I know there is a lot of politics involved, and with touring acts you tend to want to not stand out too much as the focus is on the star. I know 5 strings are popular with the current country format, a lot of low B sounds on those radio tunes can be heard. The question is - should I be worried about investing in a good 5 or a 4? Is extended range considered "not cool" or too flashy for the scene? This might seem silly but it is a legitimate concern of mine.
Click to expand...

This is silly. Go to Nashville take your bass and play.
 

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