Continue reading »]]> Originally published in the December 2011 issue of Bass Musician Magazine

For the longest time, volume pedals were one of those love it/hate it things with me. I loved having one and being able to pull back my volume at a moment’s notice or mute it to do a quick re-tune. I hated having a pedal that was little more than a volume pot on a string; volume pedals haven’t changed much since their inception. Especially in a theatre setting, the darkness of a pit makes any regular usage of a volume pedal limited, since you can’t really see your foot or where the pedal is at. It would be really useful to have something that would show me my volume.

Visual Sound’s Bob Weil thought the same thing (I’m thinking) when he created the Visual Volume. Adding a vertical row of 10 LEDs seems a simple fix, but it’s quite useful. Now you can see where you’re at, what you cut down to, where you’re muted, etc.. For my purposes, the LEDs alone were enough for me to sell my old volume pedal and buy one of these. But thankfully, there was a lot more for me to use; this is the “Swiss Army Knife” of volume pedals.

In addition to the shiny row of LEDs, the Visual Volume also boasts two inputs and outputs. You can run them in tandem with two instruments, or use the VV to split the signal of one input into two outputs (as in, stereo) or vice versa. For someone that regularly doubles on electric and upright basses, this removes the need of an A/B pedal in the chain.

It also bears mentioning that each of these inputs has internal controls to adjust the overall output of each input, as well as whether they’re active or passive. In the active mode, the VV can actually act as a boost pedal, allowing you to get a little extra (and given that LED 5 and 10 are different colors than the others makes it easy to keep track of the regular and boosted volumes). In passive mode, it acts exactly like a standard volume pedal.

Like other volume pedals, this one has a tuner out, although it only receives the signal from the first input. So when doubling with this pedal in your chain, you can only reap the benefits of tuning while muted with the first bass. An inconvenience nonetheless, and something I do hope they’ll consider fixing.

All of these bells and whistles are nice, but it really comes down to how durable this is. The VV is housed in a metal casing (which is heavy!), so no problems there. Unlike the strings that most other volume pedals employ (which I’ve been told are not easy to repair if it breaks) as the main part, the VV utilizes a lever system that if it breaks, you can buy a replacement and replace yourself. The durability and ease of repair are something that I can count on when running an eight week, seventy-plus show schedule. There just isn’t time for anything to be down and in the shop.

The Visual Sound Visual Volume pedal sports a lot more options than just a row of LEDs that separate it from the other volume pedals on the market. Because of that, it has easily gone from “just a volume pedal” to something that I rely on for a variety of applications. It’s one of the few pedals that I have in my chain almost all of the time.

Continue reading »]]> Originally published in the November 2011 issue of Bass Musician Magazine

Sunday night finished a three-week theatre run with a very diverse group of people in the pit. The rhythm section was comprised of “veterans” in the area, all of whom I’ve played with for many years; three of us had also played the show before. The horn and reed parts were all comprised of students from the local University. Monday morning found an email from the Music Director to me, asking my opinion on the musicians in the pit. Also included on the email list was the pianist from the show.

It bears mentioning that, while this Music Director is a “new guy” in town, he has just taken a position in the Musical Theatre program at the same University the students attend, as well as the current Music Director of a very talented, energetic (and dare I say well-paying) Summerstock theatre. The pianist in question is also a Music Director in town that has been directing for over 10 years. While the guitarist was not on the email list, he is also the Musician Liason at another local Summerstock theatre, hiring all of the musicians for the visiting Music Director.

Myself? I’m just a guy that plays with almost every single Music Director in town, as well as an unofficial consultant to directors when they find themselves with a couple holes to fill in their pit lineup.

Very quickly the three of us agreed on who would get hired again (sadly, a small list), who might get hired if there was no other option (a smaller list) and who not to hire (the longest list of the three). What they did or didn’t do isn’t important at this point. The point is that these students just failed an audition that they’ll probably never find out.

Simply put, you are always auditioning. You will never – NEVER – know who is watching or listening to you play. Therefore, if you are not conducting yourself in a professional manner on and off the gig, you run the risk of losing possible future gigs from people you may have never given a second thought to. I’m amazed that I still get comments from people on Facebook talking about my gigs with a former band… that I left over seven years ago. You never know who in the audience or right next to you, will remember something and talk to someone else.

Especially in the area of musical theatre, word of mouth recommendations hold a lot of weight; there is no time to hold formal auditions for musicians. So, MDs rely on musicians they trust to recommend like-minded musicians to fill gaps and holes. As previously stated, MDs then talk with the same musicians after the show to go over who worked out and who didn’t. In the end, the ones that didn’t cut it don’t find out; they’re just at home on a Friday wondering why all of their friends got gigs.

So, while it calls for another article entirely, here’s my quick list of criteria that I look for in musicians. Yes, these should all be common sense, but sadly they bear repeating.

• Show up on time. That means if your rehearsal starts at 5pm, you are there and ready to play. If you have a lot of gear, show up early to load in and set up.

• Do your job. I realize that some parts may seem below you (and trust me, the 1-5 pattern in “Oklahoma!” gets old really quickly) and playing something else may be more exciting, but you accepted the gig as it was. Don’t screw around because you’re bored.

• Be prepared. Know what you’re supposed to be playing and be able to do it well. If there are challenging parts, work on them. One mistake is acceptable; the same repeated mistake is not.

• Have a good attitude. It really speaks for itself.

Especially in this day and age, the saying of “You never get a second chance to make a first impression” rings true. Showing up late, being unprepared and screwing around, having a poor attitude are all things that scream, “Don’t hire me again” when people mention your name. A little common sense can’t guarantee that you’ll land more gigs, but it will make sure that when people start talking about you, they’re doing it for the right reasons.

Continue reading »]]> My mom has always said “this too shall pass” whenever I would call with life issues and other things in an attempt to ease my anguish, if only for a little while. In the past couple of years, I’ve also realized that it also applies to good things in your life as well. However, focusing on what might happen after things end really only ends up in you forgetting to focus on what IS happening. So with that, here is my year in review.

Readers Digest version: I am extremely blessed in a multitude of ways. I’m just trying to enjoy my victories, learn from my mistakes, and greet 2012 with the knowledge that it’s building upon a fantastic 2011.

The long version: I am extremely blessed in a multitude of ways, first of all is becoming a dad. Astrid is a brilliant little girl who has taught me a tremendous amount about myself, just by being a baby. She is amazing. Secondly, I have a wife that not only is a tremendous rock by holding down the house while I’m still gigging, but still chooses to put up with me. I know that juggling the gigging and the day job is a lot harder on everyone with Astrid in the picture, but Jen has never wavered in her support. We celebrated our fifth wedding anniversary, and true to form, Jen said “Hard to believe that you’ve been this lucky for so long” to me.

And she’s absolutely right.

In the music side of things, I have had a number of fantastic opportunities. I’ve received a lot of new endorsements, and while gear is awesome, I have enjoyed the relationships that I’ve created with many of the Artist Reps and Owners of companies. In no particular order, I’d like to humbly thank Chris & Tyler at Warwick, Chris at GHS Strings, Danica at Levy’s Leathers, Freda and Phil at Phil Jones Bass, Steve & Dana at Visual Sound, Tom at Black Cat Pedals, John at Peterson Tuners, Corey at NS Design, Jay at Gruv Gear, Jeff at Westone Earplugs, Dirk at Southcoast Strings, Jason at Kala Ukulele, Chris at Daring Audio, and Joe at MDG. You all have been fantastic to work with, shoot ideas off of, and just shoot the breeze with. I hope at some point I will be able to attend NAMM, where I can meet you all in person and shake your hand (with exception to Chris at GHS, because we’ve had a good time hanging out already).

I was able to take my blog to the next level by becoming a staff writer at Bass Musician Magazine. I’ve been lax in keeping this site up, but it’s due to focusing more on BMM articles; stay tuned for some upcoming goodies. Thanks to Valery, Raul and Jake for the opportunity. I’ve been having a ball.

Lastly, I’m still amazed that I get paid to play music. Where it used to be great as dispensable income, it’s been great with all of the added expense that Astrid has brought. To all of those that continue to hire me, I thank you from the bottom of my heart. While some nights it’s tough being away from the family, the fact that I can help support them with my playing is something that most people can’t say.

So, as I said prior, I am extremely blessed. I have no idea where everything is heading or will end up, but if 2012 is half as good as 2011 has been, I’m sure it will be completely fantastic.

Continue reading »]]> Originally published in the October 2011 issue of Bass Musician Magazine

The last week of working in the theatre has been interesting. During the “warm up” time before the show, the college students in the pit have been showing off their chops by ripping through famous players’ licks, all the while being goaded on by their peers. I’ll admit, it’s kind of fun to see these guys interested and passionate about their music. On the other hand, it reminds me of myself back in college, and the lesson I learned from Stanley Clark. Well, kind of.

Back in college I had been listening to Clarke’s self-titled album for a while and wanted to transcribe something from it; I settled on “Lopsy Lu” (the slap bass line was easily my favorite). The transcription process was challenging, but in the end I had it. I played along with the CD and it just wasn’t working; it felt flat. Sure, I could nail Clarke’s line note for note, but unless I was playing that song in a group, where was the need? Plus, I didn’t feel that I had learned anything other than how to rip off a Stanley Clarke line.

Upon the advice of an old teacher, I slowed it down and started diving into what Clarke was doing, where the chord tones fell, his right hand technique, how it sat in the overall arrangement, etc.. Once I sat down and started working on the technique and theory behind that seminal line, I started to understand what was really going on with that bass line. It became more than just a “Hey guys, look what I can do!” moment, but a masterclass with Clarke himself.

After a couple of weeks of analyzing it and picking it apart, I played along with the CD again and this time, I really nailed it. The feel was there! More importantly, I noticed during band practices during the months ahead that the time vested in analyzing the line was paying off in how I was approaching bass lines myself. I was incorporating some of the things I had learned into my own technique and not just “ripping off licks” from Clarke.

The lesson was learned. Don’t be so focused on the lick that you lose sight of the technique and theory used to create it. I spent a lot of time transcribing bass lines from famous players and until that moment, didn’t learn anything except how to transcribe bass lines. Revisiting those transcriptions opened up an entirely new experience and led to a lot of musical growth and enjoyment.

So, take a moment next time as you’re working up some new lick or line and really think about the technique that was used behind it, instead of just blazing through it. You might be surprised as to how much more you pick up.

Continue reading »]]> Or, why I’m so elated to be an endorsing artist for Phil Jones Bass.

In the theatre realm, having an amp is a very tricky business. You either get one that sounds great but is far too loud for the pit, or you have one that is a good volume for the pit, but can’t keep up with the group when you’re playing. I have gone through a number of great amp set ups in the pit; a GK 700rb-II and Aguilar GS112, Euphonic Audio iAmp 300 and Schroeder Mini 12R, and a GK MB 150E. All of them have had major issues with the sound and volume that would always make the soundman and myself butt heads. Because of this, I made the decision to buy a dedicated “theatre” amp that would be different from my main “playing live with others” amp.

That opened up another problem; hardly any companies have a consistent signature sound. Speaker configurations, EQ features, etc.. all are offered by many companies but because of this, replicating a sound in a small AND a large amp is nearly impossible. I want consistency, period.

Enter Phil Jones Bass. I had eyed their Briefcase for years, ever since I saw a Chuck Rainey ad in Bass Player magazine. I was in a position that I could actually get it. However, with my above concerns, I decided to email PJB and see what they thought and if they could help me.

I know, many of you are looking at the amps and saying, “How can these be any good? They use only 6″ speakers.” It’s a fair question. My easiest example is to look at the speakers in a studio that have killer bass and beautiful highs in them, that producers rely on. They’re relatively small and compact. It stands to reason that taking this concept from the studio world and putting it in a speaker cabinet (with multiple speakers) that you could replicate the same clarity and sound but much louder. That’s the layman version of it; Phil has a lot of literature about his concepts on his website if you’re interested for more.

Phil wrote me a very lengthy reply (that’s right, THE Phil in PJB), in which he explained what PJB could do for me. I was very excited, because I thought that they had all of my problems solved. So, I sold my current amps and ended up buying two new set ups; my coveted Briefcase for the theatre, and a Suitcase with 4B extension cab for the big shows.

To say that I kick myself for not doing this a lot sooner is an understatement. These amps really are something special. The Briefcase allows me to cut through the sonic spectrum of a 12 piece pit with no trouble, all the while keeping it at a reasonable volume to keep the soundman a happy camper. I’ve even had a couple soundmen complement me on how awesome the Briefcase sounds.

Secondly, the bigger set up of the Suitcase and 4B ext. cab address the other issue I had with amps; this sounds the same as the Briefcase, except a lot louder. It’s also got a second channel which is a nice bonus for when I’m doubling (due to that, I’m expecting a PJB Bass Cub to see how that works in the theatre), but still kills on its own. The only downside is that the Suitcase is a pretty heavy amp comparatively, but that’s hardly any issue.

So, in the past year and a half that I switched from everything else to PJB, I can’t tell you how great it’s been. My tone is consistent from amp to amp, gig to gig. I also have zero issues with the soundmen when bringing in either of the PJB amps for a show. I have had soundmen request either the bigger or smaller amp, to which I happily oblige.

Late last week I found out I was invited into the Endorsing Artist family at PJB. From the above commentary, I think you all can see how elated I am with this news, but also why I like these amps so much. PJB amps have easily been the best thing that I’ve played through in a long time; they’re dependable, consistent, easy to use and powerful in their clarity and presence. I am so happy to be a part of the family, and can’t wait to continue to spread the news about these amps.

Continue reading »]]> Okay, this is probably the simplest floor plan that I can use, and it opens itself to some issues. But, here goes:

That’s right, I’m running direct. The EBS MicroBass II is doing a lot of work here. It’s my preamp to help me retain a little control, and also as the DI to the soundboard and FOH. I’m also using the separate channels to open up some other tonal options.

Ideally, this is a pretty easy setup to use, and if you looked at the Floor Plan from “Chicago” this summer, you’ll know that I’ve done this before. It stills bears mentioning though, that this requires patience on your end. Now you’re at the complete mercy of the soundman, whether they’re extremely talented or not that experienced. You need to make your needs known, but do it in a way that they don’t lump you into that standard musician stereotype. Because if you’re hard to deal with, you’ll be amazed at how little you can hear with the headphones on.

I also find that running direct is an exercise in technique. Playing through an amp regularly while practicing can tend to “mask” certain things, just by the tone generated from said amp. When you’re running direct and have to rely on those headphones, you will be shocked how sloppy you sound. And, since this is the feed that is most likely going out to the audience, you suddenly become a lot more critical on note choices, phrasing, etc..

Continue reading »]]> Love what you do, and you’ll never work a day in your life.

I’ve heard that phrase a number of times throughout the years and didn’t fully realize it until a couple of years ago, when I really focused on writing this blog based around what I know; music, gigging and gear. The intent behind this was to share some of the things I’ve learned along the way, state some views and have some laughs. If someone took something away from any of my diatribes, it was a bonus. Even with Google Analytics installed, I didn’t really have a big view of how many people were reading or enjoying what I was doing, but it didn’t matter. I was enjoying it, and that was the point.

This past week, you have probably seen my blog about Being In Tune, and that it was picked up by the folks at Bass Musician Magazine. It was definitely an exciting point of the week, that’s for sure. The icing on the cake is that I am now a Staff Writer for BMM. It’s a very humbling thing, having someone of that stature appreciate everything you’re doing.

So, for all of the readers that have been with me for the past couple of years, I truly appreciate it. And, if you’ve picked up something worthwhile from this, I hope you pass it on as well.

Stay tuned here and BMM as I keep doing what I love; talking about music, gigging and gear.

Continue reading »]]> EDIT: I found out today (9/13/11) that this article was accepted and published in Bass Musician Magazine.

Being In Tune on BMM.com

I had a completely different article written about digital tuners and my thoughts on them that was going to post today. Last weekend was a Moody family get-together, where we all (including my spry 93 year old grandmother) met at my Aunt’s house for food and merriment. Grandma was cleaning out the desk in her living room, found one of Grandpa’s old chromatic pitch pipes, and brought it to the get-together for me. I gladly took it, opened the box, and pulled it out and see if it still held a good pitch. It does; remarkably well too, given its age. And from there, my previous article fell apart.

The original article dealt with the inconsistencies of relying upon digital tuners, and using them as “the” definitive source when it came to tuning. Grandpa’s pitch pipe reminded me that my issue isn’t so much with the tuners, but with the musicians using them. The fact is that we seem to rely on tuners more heavily than we do our ears.

Back a number of years ago, these chromatic pitch pipes were the Cadillac of tuning. People would pull a note from one, tune their instrument or voice, and then play. And here’s the interesting part. If, during the performance, someone thought something sounded out of place, they’d adjust on the spot and fix the problem. They wouldn’t wait until the song was over to pull out the pipe and check it. They’d just adjust and keep moving.

Especially with a fixed pitch instrument like a piano, this was of critical importance. It’s an expensive endeavor to have a piano tuned; some places can have them tuned regularly, some can’t. Back in the day, musicians would pull a tuning note from the piano (whether a digital tuner said it was a solid 440 or not) and play, adjusting if/when necessary. Nowadays, you have musicians tune to their tuner when playing with a piano that may be just a bit sharp. And, instead of adjusting to the fixed pitch instrument, they claim that the piano is out of tune, pointing to their tuner as proof.

In that argument, the piano IS out of tune – TO YOUR TUNER. But, when you are the one capable of adapting to a fixed pitch instrument and you don’t, YOU become the one out of tune, not the other way around. It’s at this point that you need to realize the tuner is but a guide, and your ears are going to be the most accurate piece of tuning equipment that you have, allowing you to make changes and adapt much more quickly than turning a tuner on and figuring out what is wrong.

That’s what the pitch pipe reminded me. While digital tuners are fantastic for setting intonation and general tuning (as an endorsing artist for Peterson Tuners, you will always see me with a StroboClip on the headstock, or the StroboFlip attached to my music stand), they are still a reference point, no matter how accurate they are. Because once you start playing with someone, you need to rely upon your ears to be your definitive tuner to ensure that you’re in tune with the group, and not just the tuner.

Continue reading »]]> It occurred to me while I was updating my bio (that starts with something about being under the stage) that theatre musicians don’t always hang out under the stage. In fact, I’ve been ON the stage for three musicals this year alone; Ain’t Misbehavin’, Chicago and Five Guys Named Moe. And honestly, it’s a nice change of pace from the dark confines of the pit. However, it offers up a couple of other things to consider.

First and foremost, you are still part of the band. You are NOT, I repeat NOT, part of the cast. What that means is that while you are on stage, you still need to be in the background. Anything you do now has the possibility of grabbing the attention of the audience, which means that it’s away from the actors and the story. I understand the excitement of being on the stage for a change; trust me I do. But even if you are given direction to ham it up and interact with the actors, do not steal the spotlight in an effort to be cool, which brings me to my next point.

But before I touch upon that, let me also state that when you are on stage, any joking around that is normally done in theatre pits is NOT allowed on the stage. Making your buddy laugh at a snarky comment you have may seem funny, but on stage it’s detracting from the show. This also means that when you’re turning your pages, changing mutes, grabbing your bow, etc… try to be discrete. I understand sometimes it’s easier said than done, but do your best.

Back to the second point; direction. When you are on stage you may have to take direction from the director; not the musical director, the OTHER director. Since you are now part of the show (visually, as well as musically), the director may have a vision that you will need to fit into. In the case of Evil Dead: the Musical, it was dressing up in full zombie makeup, and spitting out blood at the top of Act II (thank you, Randy Wolfe. My soul is still stained with fake theatre blood). In the case of Five Guys Named Moe, it was stopping with the cast and staring (with a blank expression) at the lead during a song. Whatever it is, you need to be ready to do what is asked of you, and nothing more.

Let me repeat that: you need to be ready to do what is asked of you, AND NOTHING MORE. You’re not the director, remember? If by chance you have an idea that you think might work, I would suggest that you run it by the director first. It’s better to do it that way and get turned down than to walk in the next day and have the music director and/or the director stop you and say “That crap you pulled yesterday? Knock it off.” I’ve seen it a number of times and it’s funny how many grown up musicians turn into hyper children when the possibility of being on stage in front of people is presented.

Being on stage is pretty cool, all in all. You get to connect with the music you’re playing in a more direct manner, since you are literally IN the middle of it. However, remember that there are a lot more rules of conduct that you need to adhere to in order to keep the show moving. You know, that whole “with great power comes great responsibility” thing. Don’t act like a fool because on stage, EVERYONE will see you.

Continue reading »]]> At some point, it WILL happen. You’ll sub a gig out to someone you consider reputable and dependable, the gig will happen, and when you come back the next day, you’ll find out that the show was a complete train wreck. The sub wasn’t prepared, choked under the pressure, pick your reason; it happened. What you’re left with is a big mess that you have to figure out how to clean up and still save face. What do you do?

1. Apologize: Seriously, it still means a lot to tell the director that you feel badly for what happened. You can even go so far as to ask if there’s anything that you can do, whether it’s talk to the sub (which you should do anyway) or even make sure you don’t sub out anymore shows.

2. Talk to the Sub: Whether or not the director thought this a good idea, you need to hear what happened from the sub. If the sub doesn’t think that anything really went wrong, you run the risk of having this exact situation happen again. If they know what went wrong, you can easily turn this into a learning situation that will hopefully make the sub better prepared for the next gig they sub out (whether it’s from you or not).

3. Find another Sub: This is not necessarily needed, but something that begs to be mentioned. I believe strongly in giving people a second chance, and letting them rise to the occasion. However, certain situations may call for needing someone else to call upon upfront. This is not a decision that is made lightly, but at the same time, you need to realize that in the music business, your name is your reputation. Who you have sub for you is representing your name, so if you’re not comfortable giving someone a second chance, do not feel bad about looking for someone else.

Conversely, if you were the sub that was caught in the train wreck, what do you do in order to save face?

1. Tell the Regular: Let me tell you how angry I get when I sub out a show, walk into the next performance and hear from the director “Let me tell you how the sub did” before hearing it from the sub. If something went wrong, it is your job to tell the Regular so at the very least, they’re not walking into the next performance blind.

2. Apologize: If you know you did poorly, you need to at least say “I’m sorry” to the director. It will show a little bit of humility on your part, and might smooth over the evening’s foibles. An apology to the Regular – you know, the one who hired you and might be wondering if that was a wise choice – would help as well. Not a guarantee, but it can’t hurt.

3. Learn from your Mistakes: I worked with a sub for a three night engagement over a weekend, and I swear he got worse each show. Especially if you’re doing more than one show, you need to evaluate how you did, find areas that you can improve, and WORK ON IT. If that means showing up a half hour early to the theatre to go through a couple parts alone (I’ve done it many times), do it. If that means taking the music home and really working on it, do it. Do not just shrug it off, citing “I’ll get it next time,” because as far as the director (and your hiring person) is concerned, this will be your LAST time.

My buddy, Lee Jones, used to say in jazz class when we’d solo, “Turn that mistake into a masterpiece!” This can be applied to a gig situation. Any time that something goes wrong is an opportunity to learn from our mistakes, make better choices and ultimately come out better than we would have if everything went well. The question is, are you willing to do it?