I've read a number of forum subjects over the years that have been to the effect of "What's the lowest paying gig you'll play?" or "Should I take this free gig?" that I felt it warranted some sort of a reply.

There is no such thing as a free gig. There are certainly gigs that are financially lacking (or non-existent), that's for certain. But to say that a gig that doesn't pay is equal to a gig that you do not receive any compensation from is a little short-sighted. As in the business world, there are many other ways in which you are compensated for taking a free gig. Here are a couple of situations:

Goodwill: You have a music director that, over the years, has tossed you a lot of work. You receive an email from them inquiring about your availability for a simple gig; one rehearsal and one gig. It's a freebie (in terms of payment) and short notice, to which they understand if you can't do it. Consider doing it as a "thank you for the opportunities of the past and the possibilities of the future" gesture. If you are already booked, politely turn it down.

Networking: As trite as it sounds, if I had a dollar for every gig I've gotten from playing gigs and being professional, I'd...still be a working musician. I had the opportunity a couple summers ago to play at a theatre with a bunch of people that I've never had the chance to play with. The gig didn't pay, but it was a fantastic opportunity to get my foot in the door and network. As it turned out, I was already booked the weekends in question. However, had I not been, I would've taken the gig.

Please don't misunderstand; I'm not saying that any time someone asks you to do a "freebie" gig that you should say yes for the benefits of karma. This is still a business, after all, and unfortunately "thank you!" doesn't pay for new strings. What I am saying is that even gigs that may not be "paying" gigs warrant a look, to say "Is there something that I will get out of this, that will benefit me in the long run?" instead of "What does it pay?" before turning it down.

Labels: Music

This is a topic that I have found usually has some very polarizing answers and opinions to it. When you are the new member in an already established band, how do you handle the subject of them wanting you to play the former member(s) parts?

Answer 1: They didn't hire them, they hired me. I'm not going to treat an originals band like a cover band and play what's on their album, note for note. If they don't like it, I'm walking.

Answer 2: If they have an established band that has CDs out, certain things should sound exact. Play the parts on the old tunes, do what you can with the new ones.

That's usually the summation of any forum post on the subject I've read. What I left out were the ten pages of people yelling at each other, trying to get them to change their mind... :)

I will admit, in my first real band years ago (check them out at www.immigrantblue.com), I was solidly based in answer 1. It took a lot of kicking and screaming to agree to play the verse part of one of their songs how they wanted it. Everything else was redone by me. On the plus side, this did bring a new perspective into some of their songs, and ended up changing the entire vibe.

When I left that band (and recorded the basslines for all of the songs for the new guy), I was the same way, warning them that making the "new guy" learn my parts was just setting them up as a hired gun, with no real input into the group. However, after a five year respite, a slew of hired gun gigs and foray back into originals with Blue Dahlia (you can see them at www.bluedahlia.com), I'm really starting to see that demanding total artistic independence wasn't ever the way.

Example, their oldest (and I'd assume most widely known) song is called FATE, which the original bassist had this simple little groove. Nothing fancy, but it moved the song along. From what I was told, the bassist before me didn't like it, and changed it. So, they requested that I listen to it, learn the original part and play it that way. Okay, no problem.

It was while learning the line, note for note, that I realized something. It's not about me flexing my artistic muscle for the sake of my ego or identity. It's about playing what's the best for the SONG, period. I'm confident enough in my musical abilities (and so are they, since they approached me about the gig), that there's no need to assert myself.

So, I learned the line, note for note. Am I playing it the exact same way as on the CD? No, there are nuances to my playing and technique that shine through and help bring my identity through the notes. However, that line is the original now, and while I didn't write it, I understand and appreciate the thought behind it, and what it does to the song as a whole.

Labels: Music

It's not what you know, but WHO.

I used to shudder when I heard that phrase coined ad nauseum. But I'll admit, in the freelance world it's true. The building of relationships really takes precedence over how well you do your thing (even though that does play a role, don't get me wrong). There is no greater example of this than in the world of musical theatre orchestras. Anyone with basic skills and music reading ability can sit down in a theatre pit and read down the score to a musical; it's not rocket science. However, during that time you are interacting with everyone, from the stage hands and director to your fellow musicians and music director. How you conduct yourself as an individual and as a musician will come into play.

As an example, five years ago I got an offer to play in the theatre pit of the Barn Theatre (which I got from playing a gig with the musician contractor at a different theatre). Every two weeks was a new show, but also a rotating lineup of musicians (based on the musical needs at the time). One of the keyboard players that I met my first summer was a very reputable music director in town. In the fall, when a bass player for a show of his couldn't do some gigs, he had me hired as the sub. From there, our working relationship continued until a year later, he hired me as a regular member of a musical. From that point, he has hired me for countless gigs and recommended me to other directors for other gigs as well. How I got to this point I firmly believe came from these tips...

Take this seriously: This needs to be stressed, as I think a lot of musicians don't take this type of work as seriously as they should. In the one regard I get it, we're getting paid to do something we love to do. How can you not have fun doing that? Let's still remember, you are getting PAID to do a job, and need to treat it as professionally as you would a regular 9-5. Those studio guys that work often and regularly understand this.

Show up early: I'm a big believer that you show up 10-15 minutes earlier than needed, in order to set up (if needed), warm up and get everything ready. Showing up right at the time of downbeat is not acceptable; you're holding up everyone for a rehearsal. Especially for a show, show up early. Things can happen, and having some extra time to navigate through those is vital. If for some reason, you can't make something on time (prior commitment or even emergency the day of), it is your job to get a message to your music director, whether by calling them directly or getting someone at the theatre to pass on a message.

Keep your equipment in good working order: It is not the director's problem that you broke a string the night prior and haven't had the chance to get a set at Guitar Center that day. The fact that they hired a musician that obviously can't keep their equipment in working condition IS their problem, and there's an easy way to remedy that. Hire someone else next time.

Take direction: The person you report to is called the MUSIC DIRECTOR for a reason; it's their job to get the music in order. Take direction easily and gracefully. Take good notes so they don't have to repeat themselves more than once. Ask questions when not sure of something.

Keep your mouth shut: Those that know me will laugh that I'm mentioning this, but it's true. There are always going to be some things that you may not agree with; how someone is directing, general vibe of the group, etc.. If you have actual concerns, bring them up in a professional manner with the music director, one on one. If you have a problem with the music director, my advice is to shut your mouth, finish the gig, cash the check and next time if they call you, politely turn the offer down.

Say THANK YOU!: People think it's silly, but I try to thank every single music director after every show for the opportunity (even my now-close friends), either in person or by sending an email to them shortly after the gig. Just shaking their hand and saying "I really had a lot of fun, thanks! I look forward to doing it again!" will go a long way in establishing a long-term working relationship. I've even gone so far as to buy one music director (that I mentioned earlier) a bottle of his favorite wine as a "Thanks for the many years of friendship, gigs and opportunities." He's still joking with me, saying that he's ready for another bottle...!


When it really comes down to it, people would rather hire a modest talent that is very easy to work with than someone that is a phenomenal musician that's known as difficult (and trust me, in this world people talk...a lot). A lot of this I'm sure may seem like old-hat to many of you, but you'd be surprised how many musicians I see forget a lot of these things and don't realize they lost future gigs until they don't get that phone call.

Labels: Music

A lot of people have asked me ever since all the news went public about my endorsement with Warwick Basses, what I had to do in order to get it. Honestly, all I really did was ask. Granted, I was riding high off the review of our production of TOMMY (Barn Theatre, 2009) where the band was mentioned in the review - BY NAME. So, a hearty helping of bravado was probably pushing me to fill out all the necessary information and hit "send" on my email program. It really comes down to asking, because the worst thing that is going to happen (and I've heard it a couple of times) is they're going to decline. Seymour-Duncan turned me down a couple of times, but were very nice and polite, and offered some tips for the future. So really, I got something out of asking after all.

However, with that comes a lot of preparation. An endorsement is, after all, a business agreement. You agree to play their instruments (sometimes exclusively), and they agree to endorse you (or really, you agree to endorse them). If you look at Warwick's site, they are very specific in what they request from people in order to be considered. For the most part, treat it like a job interview. You wouldn't show up in ripped jeans and a t-shirt, with a hand-written resume, would you? The same applies here. Having a well done website, complete with various media (pictures, videos, music files) will go a long way. Carry that image across the board onto your myspace, facebook, whatever site to create a brand. A consistent image is vital. This shows everyone that you are professional, and serious about your music.

Other questions had to do with "Why Warwick?" and "Why be endorsed in the first place?" Fellow endorsing artist, Lex Sadler (check him out at www.alexissadler.com) said it best, when he said:

Really, endorsement is a two-way relationship. For me personally, endorsement has come after a relationship that has spanned 10 years. I started playing Warwick in '99, and have continued to do so since, promoting and marketing myself and the brand as much as possible.. not because I wanted to be endorsed, but simply because I loved the instruments. Over that 10 year span, I purchased 5 instruments. To me, endorsement is all about this and being part of the family.

I have been playing Warwicks since 1997, when I picked up my very first one; Rosie, my 1996 Corvette Std five string. Throughout the years, I've had two other Warwicks (a 1999 Streamer Pro-M five string, and a 1995 Fortress One five string) as well as a number of other basses (high-end and not-so-high), but the Warwicks were my signature sound and the one constant in my rotating lineup. I had been playing them for years, enjoying them immensely and spreading the "Sound of Wood" to anyone that would come up after a show and say "The bass sounds amazing! What are you playing?" It was more, like Lex said, about being in the "family" and not a "I love your basses, can I be endorsed?" type decision. When it came down to it, I would've still played Warwick basses even if they had said "Thanks, but no" to my request. I am overjoyed and humbled that they did say yes, and invite me into the family. In fact, my biggest thrill of this entire endorsement came in December, when I got the company Christmas card. That honestly got me more excited than when I opened the box to my Streamer LX six string (not discounting the awesomeness of my LX, but you know what I mean).

The last one has to do with free instruments. As the adage goes, "There is no such thing as a free lunch." I paid for that Streamer LX (my wife and credit union will back me up), and quite happily I may add. I assume that if I was Jack Bruce, Jonas Hellborg or one of the other people that is world-reknown and has sold millions of records I could get a free bass. But then again, that was never the intent in the first place. The relationship that is being built between myself and the fine folk at Warwick is the big payoff here for me, and the family of musicians that I was welcomed into is inspiring and humbling.

Labels: Bass, Music

or "How to sound like you've been playing together for 30 years in 30 minutes."

Originally written for Worship Bass Magazine, vol. 3 (as yet to be published)


7:55am usually finds me walking into the sanctuary at church, bass and effects board in hand. The drummer and pianist usually follow suit, and right around 8am, we're ready to rehearse the music for this Sunday's services. Seems like a pretty standard Sunday morning, with one exception:

This is the only time that the three of us (drummer, piano and bass) have to play together all week, and the first time we see the music. We get one half hour rehearsal before the first service. Many would think that this is a recipe for disaster that would directly affect how the congregation is moved by the music, but most importantly, the word that is being given through the music. However, with a little planning ahead, you can help the band sound as if they've been playing together for decades, and become a very powerful vehicle for the word.

-Know your musicians; The biggest curveball that I encounter in my situation are the musicians. Knowing who you are playing with - their style, background - will only help you as you tailor your playing to them. The pianist we have at church is an old friend of mine; we've played together for five years. He's got a solid classical and musical theatre background. We have a rotating drum throne that consists of one of three people:
-Drummer 1, who plays in a rock band and jazz quartet.
-Drummer 2, who plays in a folk/pop group and a middle eastern group, with some hand percussion
-Drummer 3, who plays anything that can make a sound, and usually incorporates it into the drumset.

I don't know who is playing until they walk in that morning. Each drummer brings their own special voice to the drumset and requires different interaction from myself and the pianist. For example, drummer 1 keeps everything simple, solid and fairly easy to lock into. Drummer 2 requires a little more effort to make sure my basslines are the foundation, allowing him to embellish a little more and add some of his hand percussion. Drummer 3 is the hardest, but most fun; the groove is always there and rock solid. Finding the pulse is more important than just counting the measures. There is an unbelievable amount of space that allows me to do anything I want with this drummer.

Having this knowledge of how each person plays and approaches their instrument is vital to establishing a musical rapport immediately. If you don't know your fellow musicians this well (you could be walking into this gig new, or someone new shows up that you've never played with), it never hurts to ask the kind of music they listen to and play. That will tell you volumes about their playing style and what you need to focus on as the bassist.

-Know your styles and build the foundation; I consider myself spoiled at church, in that I am allowed to play a wide variety of music. The music in the past month has touched on traditional pieces, as well as gospel, world, calypso, funk, folk, trance (that's right, I said it) and soul. Having a good working knowledge of some simple patterns in almost every musical style is very handy in this environment.

When approaching an unfamiliar or new piece, keep it as simple as possible. If it's a rock feel, there's no shame in using the old standard dotted quarter, eighth note tied to a half note pattern (it's been used for decades for a reason) until you get an idea of the piece. I've been known to play simple whole notes or half notes on the first run-through, and then slowly add in other beats/notes as I get more comfortable. It's easier to add more movement and harmonic structure to your lines than it is to try and go backwards. Not only is this for you to learn the music, but also for the other musicians with you. The more solid you can be, the easier it is for everyone to sight-read the music, get a firm grasp on it and begin to add more "color" to the song.

-Play the song, not the notes on the page: Unless it's a note-for-note transcription, odds are that something was ad-libbed during recording, and then watered down onto the printed sheet music to make it accessible for everyone involved. That's not to say that you can play whatever you want; whatever is on the page was done for a reason. By keeping your ears open as to what is happening in the vocal line and with the other musicians, you can help the music "breathe" by adding a note here and there, accenting something to drive home a phrase, set up the chorus, etc.. Provided you're playing with like-minded musicians, they'll catch on to what you are doing and follow suit. For example, the simpler I can keep the verse, the more powerful that chorus becomes when we as a group add some movement to it.

This past Sunday was another example of how these concepts come into play, when we had Kristin "Luna" Ray (www.kristinray.com) as our special guest artist. After setting up and running through the regular church music (with Drummer 1), Luna gave the pianist and I a chart. A quick glance revealed nothing out of the ordinary. When I asked what kind of vibe she was going for, she just smiled and said "You'll feel it."

She started into the song; she told the pianist to come in at the vocals, and for the drummer and myself to come in where we thought was best. She had the guitar capo'ed up quite high; the rhythm was light, sparse and very mellow. To compensate for this, the pianist was playing in the middle of the keyboard. I figured that staying on the E and A strings would be beneficial, given our sonic landscape. I came in at a walk down in the chords, about halfway through the first verse with simple whole notes, plucking the strings over the fretboard to get that warm, faux-upright sound. The drummer came in with me, with a simple backbeat on brushes.

As the song progressed (through a second verse, chorus and a bridge), we added more and more movement. I added only two things throughout the song progression. First, I moved my right hand from over the fretboard to the bridge pickup to add more "bite" as the momentum was building. Secondly, I added a couple quarter note passing tones. It may sound like I didn't do a lot, and frankly, I didn't. However, it's those little things that can add the most. The busiest I got was at the piano solo (which was just once through the verse). At that point, I was playing a two-beat feel at times, and other times echoing some of the pianist's phrasing. However, once that solo wrapped up, we all went back to our original playing style and feel (whole notes, plucking over the fretboard).

The transition back to the last chorus (from the solo) was powerful. Luna looked over and said "Man, I wish I could take you guys on tour. That was amazing!" We finished the chorus and ended the piece. We went over the song once more to make sure everyone was comfortable and that was it. After the services, she thanked us for adding such a great vibe to the song.

Sounding like a cohesive group with minimum rehearsal time seems like a daunting task. By knowing your musicians, pulling from your knowledge base of musical styles and playing the song, you and your fellow musicians will sound like you've been doing this thing for decades. All it takes is a little listening.

Labels: Bass, Music

...or, "Why you shouldn't buy a cheap one for your expensive instrument."

It seems that every musician at some point, is introduced to the gig bag, or the soft case equivalent to the hard, bulky, heavy plastic case that their instrument came in originally (some exceptions are the string bass and cello, which rarely come with a hard case). It's an ideal solution; this soft case will hold your instrument, not weigh a ton and also - wait for it - allow you to sling it over your shoulder(s) to make carrying it easy. There are a variety of different types and styles to fit into your price range, making them affordable for everyone. So, what's not to like?

Really, there's nothing. However, there is a caveat which many people seem to overlook. A gig bag is still a soft case, and as such, does not offer as much protection as a hardshell case will. Having used gig bags for over a decade, I'm aware of this. I'm also aware that walking to and from my car at the theatre (or church) is not a position where I put my basses in imminent danger, like going into a bar. So please, if your guitar/bass was leaning up on a barstool in a gig bag and it fell down because someone walked past it, breaking something...it's your own fault.

There needs to be mentioned that with gig bags, the old adage of "you get what you pay for" rings true. I've had cheap gig bags literally fall apart on me after a handful of years, forcing me to shell out another $30 to get a new one that I hope will last the same amount. As my excellent salesman, Jodie, from Bass Club of Chicago told me over the summer, "If you have a $3,000 instrument, why are you spending $30 on a cheap bag to protect it?"

I ended up buying a Levy's LM19 all leather gig bag. There are many other very nice (and yes, expensive) gig bags out there, but I went with this one for the main reason that it's leather. Bikers wear leather for protection for a reason. Also, if anything on this rips, unlike the old days of pitching the bag and swearing that this time "I'll buy one that lasts!", I can take it to a leather worker and have it stitched up.

I'm not going to get into the real specifics of this bag (you can click on the link and do that yourself), but the point is this. A gig bag is still a case for your instrument, and needs to be an equally important part of your gigging situation, ESPECIALLY if you plan on making a go at this thing. Nothing says "I'm new at this" than having to borrow an instrument at the last minute because the one in your flimsy gig bag got damaged and is now at the shop.

If you're like me, you're horribly picky about your basses, strings, cables, straps, etc.. If you plan on using a gig bag regularly, it needs to be given as much - if not more - consideration.

Labels: Bass, Music

For those that haven't seen it, I'm now a very proud endorsing artist for Warwick Basses. With that came a very fantastic bass, being a Streamer LX broadneck 6 string. It's a beast to be sure, but very easy to play (I'll have to blog on it later).

Due to my previous blogs, the guys at Circle K Strings asked if I'd like to to test-drive a new set of strings that were tweaked, partly from some of my feedback (and from others). Not only that, but they were more than willing to give me a 6 string set to put up on the new 'wick. How cool is that, seriously? So, here's what I strung up the 'wick with.

OLD - Warwick Black Label Medium - .135 .105 .085 .065 .045 .025
NEW - Circle K Standard Balanced - .136 .100 .076 .058 .043 .031

Right away, you can see some differences between the two types. The thing that I really like about Circle K's strings is that with a balanced set, you don't get the high C that is noticeably louder than the other strings. They also have seemed to fix the issues I had with my previous balanced set, that being E and G strings that were a little quieter (in fact, I rarely used my G string with the last set because of that). Still has that wonderful clarity and tone that I have been telling everyone about, just tweaked and edited. Very well done.

Tone-wise, I would put them very close to the Black Labels, except more focused. The Ks also seem to nail that "broken in at two weeks" string sound right off the bat, which is where the Black Labels shine for me. In terms of slap, the Ks love love love to be slapped. They sound great. My only complaint is that I seem to lose a little more low end when slapping than with other strings, but then again, this can be totally based upon my eq settings.

Feel-wise, the Ks do have a lower tension feel, and as such, allow you to play nice, or dig in and get that little extra muscle at lower volumes. What I have come to like about the lower tension of the Ks is that they allow a little more character of the instrument to come through. The Streamer LX is a very smooth and tight sounding bass; very unlike the trademark "Warwick growl" that people mention (and a 180 from my Corvette). Your finger attack can easily switch from that smooth, mellow, creamy sound to a more biting growl.

In conclusion, the new balanced formulation from the gents at Circle K Strings has improved upon the issues I was facing prior. It's exciting to know that a company like this not only listens to their customers, but also takes that into account.

Labels: Bass