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Almost every week of the year I play function gigs; weddings, parties, corporate events, fundraisers, product launches – the occasions are varied but the music is largely the same. Regardless…

Almost every week of the year I play function gigs; weddings, parties, corporate events, fundraisers, product launches – the occasions are varied but the music is largely the same. Regardless of whether I’m working with bands that I play with regularly or depping (usually at short notice and always without rehearsal) in an unfamiliar band there are always tunes that crop up on every single gig.

Some of these songs are great, while others are thoroughly loathsome. The challenge is treating them all the same.

When I left music college some years ago, I was naive and principled in thinking that I’d be able to forge a career as a musician through only playing music that I liked, and I even had a list of gigs that I’d never ever do.

Seven years later and I’ve done almost all of them.

So what changed? Firstly, it’s easy to be idealistic about what you deem to be musically credible until your rent is due.

Reality Check: Realising That Your Job is Not Your Career

Attempting to make a living through music in London (or anywhere else, for that matter) is a tall order, and if it’s a choice between doing a musically dubious gig or having to take a non-musical ‘day job’ to make ends meet then the former will always trump the latter.

The second change was that I grew up (well, a little…) and accepted that part of being a professional involves treating all music equally regardless of personal tastes. The audience members at every gig deserve your respect, the other musicians deserve your respect and, crucially, the music deserves your respect.

One of the items on my list of gigs that I’d never do was anything related to tribute acts – then about 5 years ago I accepted a corporate gig where one of the sets was entirely of ABBA tunes. Whilst I was relieved that I wouldn’t have to dress up for the gig, I wasn’t exactly overjoyed at the prospect of learning 20 songs by a band that I wasn’t remotely keen on.

The process of transcribing a number of ABBA songs forced me to reconsider my viewpoint of music that I’d previously deemed to be cheesy, lightweight pop nonsense – the bass playing (courtesy of the late Rutger Gunnarsson) is creative and melodic whilst always serving the songs, with many of his lines bearing the influence of Paul McCartney and James Jamerson.

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Following a request to include something more contemporary in the series, I scoured mainstream radio for something bass-heavy to transcribe: Had requests for a more recent groove so here it…

Following a request to include something more contemporary in the series, I scoured mainstream radio for something bass-heavy to transcribe:

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In order to emulate the original sound from the recording I used one of my favourite pedals, the Boss OC-2. Although my gear hoard includes a bass synth (an original Novation BassStation for the gear nerds), I rarely take it out on gigs as it’s a hassle to pack the extra gear for one or two songs in a set.

I find that an octave pedal, such as the OC-2, provides a decent approximation of many bass synth sounds found on recordings*. If there’s song that originally had a bass part played on a synth then I’ll tend to use an octave pedal with the dry signal turned down and the effected octave-below sound close to 100%. This results in a tone which makes the attack and envelope of each note closer to that of a keyboard and less like a bass guitar.

It’s not just a case of using the pedal to reach notes that are below the range of a 4-string bass – I’ll often use an octave pedal on gigs rather than use a 5-string because of the tone that it provides.

*for the curious, other function tunes that I give the octave pedal treatment include ‘Superstition’, Chaka Khan’s ‘Ain’t Nobody’, Michael Jackson’s ‘Shake Your Body’, Florence + The Machine’s ‘You’ve Got The Love’ and Maroon 5’s ‘Moves Like Jagger’.

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I have a problem. An addiction, if you will. It’s plagued me with varying degrees of severity for the last 15 years, and although I go through long stints of…

I have a problem. An addiction, if you will. It’s plagued me with varying degrees of severity for the last 15 years, and although I go through long stints of being ‘on the wagon’ a relapse is never far away. 

I’m guessing many readers of this blog share the same addiction. Most might not admit it, but it’s a widespread problem that transcends age, gender and musical preferences. 

 

I’m talking, of course, about the dreaded Gear Acquistion Syndrome (G.A.S. for short). Perhaps you or someone close to you is affected by this debilitating compulsion to constantly seek out the latest piece of equipment in order to fill a void and find that sound which has as yet eluded them. Here’s a glimpse into the extent of my problem (excluding amps, cabinets, and double bass paraphernalia):

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Here’s the uncomfortable truth: your gear matters far less than you think it does. 

 

“Many bassists are consumed by their pickups, amps and EQs, but so much of that is bogus.” – Marcus Miller
I’m reminded of this almost every time I pitch up on a gig with a new piece of gear, assuming that at the end of the set I’ll be swamped by bandmates and/or audience members who can’t wait to tell me how great the bass sounded. 

 

Reality check. It’s rare that anyone notices that you’ve put vintage pickups in your bass, traded your regular octave pedal for an obscure 1970s Japanese one or lugged that extra 1×12 cabinet to the gig. It’s even rarer that anyone cares (I say this as someone who has vintage pickups in his P bass, owns 5 different octave pedals and regularly regrets bringing that extra 1×12 to the gig).

 

What performers and punters care about is that you play the right thing at the right time. 

 

Here’s the goal: You should be able to make the music that you play feel good regardless of what’s on your headstock. If you (or I) can’t fulfill our job description by playing in TUNE, in TIME and with an awareness of TASTE then no amount of true bypass circuitry will save us. 

 

I’m not suggesting that you go on a gear purge and replace your current setup with one that’s a fraction of the price. What I’m advocating is making a realistic assessment of your gear needs as opposed to your gear wants. 
 

 

What do you need from your gear?
 
Gear Priority 1: Your gear needs to work properly

 

This sounds condescending, but small faults are often ignored – you’d be amazed how many bassists are gigging away with wobbly input sockets, crackling volume pots and buzzing nuts (sorry, couldn’t resist).
Either treat your bass to a decent setup by someone who knows what they’re doing or learn how to perform basic maintenance on your instrument to keep it working properly. There’s a wealth of information on YouTube on how to adjust your truss rod, alter your action, check your intonation and clean your pots. 

 

Gear Priority 2: Know the gear that you already own inside out
 
Learn what every knob, slider or switch on your bass, amplifier and pedals does and how you can use them to shape your sound for different situations. A wide range of tones can be coaxed out of any bass by simply changing the way in which you use your left and right hands.

 

“My philosophy is that most of the tone and sound comes from how the fingers are touching the strings, not by some secret EQ settings” – Mick Karn
Knowledge of how your technique affects your tone allows you to access a multitude of sounds from a single instrument before you even consider EQ settings – this is especially important if you’re frequently gigging with backline provided by other bands or the venue and still want to preserve ‘your’ sound when faced with unfamiliar amplification. 

 

Gear Priority 3: Buy gear with your ears (and hands), not your eyes

 

Try not to get sucked in by the marketing strategies that manufacturers use to maintain the pervasive notion that different genres of music require particular brands of equipment. If you really understand the music that you have to play then you can perform effectively using almost any bass and amplifier combination. 

 

“The first thing you should consider in choosing an instrument is feel – you want an instrument that feels good in your hands and on your body. Then find an amp that gives you a good sound for every technique you use. Don’t try to get your sound from the EQ.” – Victor Bailey
Price tags can also be misleading – the most expensive gear is not necessarily the best option. The best gear is whatever feels and sounds right to you, regardless of brand or aesthetic. 

 

When I last bought a bass almost 5 years ago, I spent a long time searching for something that felt right, and ended up buying a bass made by a company that I’d barely heard of that looked nothing like any of the basses I thought that I wanted. Since then, I’ve tried roughly 30 other instruments and none have come close, even though many were in a much higher price bracket.

So if I know all this, why do I still buy new gear? Why do I persist in a relentless pursuit of tonal perfection through equipment? The answer is simple – I’m in denial. It’s much easier to spend money on new gear than expend time and effort working on my playing. The arrival of shiny new equipment provides an ego boost and a temporary placebo effect that convinces me that owning this piece of gear will solve all my musical problems.

 

So here’s my premature 2016 resolution: No new gear whatsoever for an entire year. Totally cold turkey. If you see me trying to show off ANY sort of new gear then please call me out on it – recovering gear addicts need all the support that they can get.

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