“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side.”
― Hunter S. Thompson
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Was this an appropriate way to be fired?
- Thread starter TheIndieKid
- Start date
― Hunter S. Thompson
LOL, to be honest I think Johnny Cash in particular could have been less prolific. I know a lot of these were label repacks, but not every Album was a Man In Black or At Folsom Prison.
You can record on your phone/tablet/computer/used portastudio/garage sale cassette or reel-to-reel, etc.
You don’t need fancy gear. You need to face a microphone being present, and the grim reality of hearing what you’ve played.
For many people, “I can’t” is shorthand for “It terrifies me to face it”. I suggest you remember that most people don’t have the stones to do what you’re doing.
And realize that it DOES GET EASIER, the more you do it.
One other suggestion: play along to recorded music. And don’t start and stop it; finish the song. If you get lost, lay out until you can find your place again. Don’t stop until the song ends. And record yourself as you do.
This accomplishes two things:
- It makes you less susceptible to mic fright. Don’t be the guy who freezes when he gets recorded; you will become the guy who NEVER freezes when he’s being recorded.
- It develops good time. If your time sucks, NO ONE will want to play with you. If your time is OK, people will try to play with you. If your time is great, and you have a good sense of groove, people will ENJOY playing with you.
A "studio" that only has a 5 string with rounds on it on hand is not much of a studio.
Why even go into a studio, without trying to record at home?
So Anyway, move on and don't bother contacting them.
And don't discuss with anyone else, because the first rule of a 4 year, no gig, original music, rehearsal band with a vision that wants to record in a studio is:
DON'T!!
And don't discuss with anyone else, because the first rule of a 4 year, no gig, original music, rehearsal band with a vision that wants to record in a studio is:
DON'T!!
In thinking about this, I thought to myself first off 4 years no gigs, I'm out of that band 3 years ago..lol..
However equipment issues aside, I can guess what happened..I remember switching from a four string bass to a five string..It took a while of practicing to get used to the whole extra string business. There were some issues, and one of them was the B string rumbling because I hadn't learned how to mute that string properly either by resting my thumb on it which I did for awhile in the beginning and then learning to play the bass without having my thumb on the B string but still having that string staying quiet..I rest my thumb on the edge of the pickup..maybe the edge of my thumb mutes the B still, either way I have perfected that now and I don't even think about it anymore. But before I did that there was a fair amount of rumbling coming from that B string vibrating, in a recording that would be awful..Secondly I had to learn to remember that E, A, and D were a string away from where I was used to it being..The A used to be the second string down, now its the third string down and sometimes that caused confusion to me and issues such as plucking the wrong string..again this was remedied by a lot of practice and getting used to the 5 string..I don't think I could have went into a studio and laid down a perfect track the day I got that bass...no way.
I did audition for a band 5 days after getting that bass tho..but I worked like a dog to get myself acquainted with that bass, and I must have done something right because I was offered the spot in the band...
However there is no way I could of been prepared to lay down a studio track in one or two takes with that bass on day one...So I'm thinking probably there were some issues within that sphere...isn't it odd that a studio would have a 5 string for a bass laying around??..I would think your basic 4 string P or J would be more common...
move on happily...learn to work on your own basses and join another band...
However equipment issues aside, I can guess what happened..I remember switching from a four string bass to a five string..It took a while of practicing to get used to the whole extra string business. There were some issues, and one of them was the B string rumbling because I hadn't learned how to mute that string properly either by resting my thumb on it which I did for awhile in the beginning and then learning to play the bass without having my thumb on the B string but still having that string staying quiet..I rest my thumb on the edge of the pickup..maybe the edge of my thumb mutes the B still, either way I have perfected that now and I don't even think about it anymore. But before I did that there was a fair amount of rumbling coming from that B string vibrating, in a recording that would be awful..Secondly I had to learn to remember that E, A, and D were a string away from where I was used to it being..The A used to be the second string down, now its the third string down and sometimes that caused confusion to me and issues such as plucking the wrong string..again this was remedied by a lot of practice and getting used to the 5 string..I don't think I could have went into a studio and laid down a perfect track the day I got that bass...no way.
I did audition for a band 5 days after getting that bass tho..but I worked like a dog to get myself acquainted with that bass, and I must have done something right because I was offered the spot in the band...
However there is no way I could of been prepared to lay down a studio track in one or two takes with that bass on day one...So I'm thinking probably there were some issues within that sphere...isn't it odd that a studio would have a 5 string for a bass laying around??..I would think your basic 4 string P or J would be more common...
move on happily...learn to work on your own basses and join another band...
This ^.
I don't often record myself at home but do record every rehearsal on a hand held recorder and upload the mp3s to the cloud.
It's amazing how much improvement people make when they hear it back and are not preoccupied playing. (Those that can be bothered to listen of course.)
That was pretty much my thought. But I also know that what I used to think of as a studio isn't what most people think of these days. Bedroom studios are pretty much the norm these days.
I've been in situations with other band members where a few people collectively agreed that them not having their own transportation would be fine and the band would help them out. In every single one of those situations, it's fine for a short time, and it gets old quickly. At the end of a rehearsal or gig, you just want to go home, not make stops.
Obviously not being able to drive if you have a medical reason for it is not your fault, but all I'm saying is, if anyone in the future tells you they'll help you out with rides, take it with a grain of salt. Usually people say that without thinking of the commitment, especially if it's longer term than they expect.
The more I read up on this, the more I get the idea that maybe they fired the OP for being a burden, and used the studio performance--using a completely foreign bass compared to what the OP is used to sure doesn't help--as a means to fire them without having to come across as a jerk.
This right here, is part of why I think this. The band may have originally agreed to schlepping you around because to them it was temporary, but when it proved to be longer term than temporary, it started to rankle them.
Couple that with having primary gear that is all in need of repair, and secondary gear that can't be played for some reason or another, and I can see a band letting you go. Those things, fairly or not, can be taken as signs of flakiness. Or that you don't really care about the band. Or both.
I do know that if I were in a band, and knew my bassist had a gear issue with his main bass, but had others that, while not optimal, worked and he/she was familiar with them (I'm expecting more familiar than with a 5 string bass) but chose not to use them for a recording, I'd be pretty pissed. Sure that Thunderbird isn't comfortable, but I'm also sure you could have say down for the recording session, diminishing some of the discomfort. If it were a 1.5 hour live stage performance, OK, different story, but you're talking about two songs in the studio. In my experience, you find a way to make it work. The studio bass should have been THE LAST resort.
Nevertheless, this a good learning experience. One thing I haven't seen mentioned yet is the age gap. The OP mentioned the band was older than he was by a few years--maybe find a group more your age to play with? They will likely be more sympathetic to your situation (transport, costs to repair basses, etc) and could very well be the best fit for you. Older guys sometimes take for granted having a good income (and all the things that, to them, come with it) and reliable transportation.
I wish you the best of luck going forward. Keep your gear in order and record everything you play!
This right here, is part of why I think this. The band may have originally agreed to schlepping you around because to them it was temporary, but when it proved to be longer term than temporary, it started to rankle them.
Couple that with having primary gear that is all in need of repair, and secondary gear that can't be played for some reason or another, and I can see a band letting you go. Those things, fairly or not, can be taken as signs of flakiness. Or that you don't really care about the band. Or both.
I do know that if I were in a band, and knew my bassist had a gear issue with his main bass, but had others that, while not optimal, worked and he/she was familiar with them (I'm expecting more familiar than with a 5 string bass) but chose not to use them for a recording, I'd be pretty pissed. Sure that Thunderbird isn't comfortable, but I'm also sure you could have say down for the recording session, diminishing some of the discomfort. If it were a 1.5 hour live stage performance, OK, different story, but you're talking about two songs in the studio. In my experience, you find a way to make it work. The studio bass should have been THE LAST resort.
Nevertheless, this a good learning experience. One thing I haven't seen mentioned yet is the age gap. The OP mentioned the band was older than he was by a few years--maybe find a group more your age to play with? They will likely be more sympathetic to your situation (transport, costs to repair basses, etc) and could very well be the best fit for you. Older guys sometimes take for granted having a good income (and all the things that, to them, come with it) and reliable transportation.
I wish you the best of luck going forward. Keep your gear in order and record everything you play!
Be happy. They did you a huge favor. Your disappointment in how you were treated only reinforces the point that you're MUCH better off.
It's important to remember that not every resignation or dismissal is an opportunity to practice diplomacy and social graces for many people. Parting of ways can be emotionally charged, and a lot of people would rather do it as quickly and cleanly as possible to avoid the drama. Usually, if people search their hearts, everyone can figure out why it wasn't a good fit. That's enough for me.
Long ago I reached a point where, whether it's me quitting (usually the case) or being dismissed, I let it roll off my back. Immediately start putting your mental energy and emotional strength to better uses. The reasons for going separate ways sometimes won't even matter or make sense; why torment yourself with pointless conversations, self-doubt, anger, and misplaced disappointment and regret?
FWIW, I usually end up walking after months of serious commitment and effort trying to make someone else's project shine, just to finally realize they aren't serious and I'm not appreciated.
Go forth wiser and better for the experience, and better luck next time.
Long ago I reached a point where, whether it's me quitting (usually the case) or being dismissed, I let it roll off my back. Immediately start putting your mental energy and emotional strength to better uses. The reasons for going separate ways sometimes won't even matter or make sense; why torment yourself with pointless conversations, self-doubt, anger, and misplaced disappointment and regret?
FWIW, I usually end up walking after months of serious commitment and effort trying to make someone else's project shine, just to finally realize they aren't serious and I'm not appreciated.
Go forth wiser and better for the experience, and better luck next time.
You'll make a great interviewee in a decade or so. You'll have this great anecdote to share with the world: "hah, yeah, let me tell you how I got fired that one time..."
You are twenty. You got to spend four years of being a teenager working with a band. That is good. Some don't start gigging until they're much later in life. A good time to learn things. Now start working on your own stuff and keeping an eye out for a better situation (or two). Best of luck.
In the town where I live, I have a friend who is a somewhat legendary local music icon. He lives downtown and doesn't drive. The people he works with are all willing to deal with that because he brings something to the table that is good for everyone who gets onto a stage with him. They get more from being associated with him than he is getting from them.
If you're not that guy or someone like that guy, it's going to get old for your band mates.
OP said he was with them for 6 months not 4 years.
