Dealing with a "power trio"?

#41
Dexterzol said:
Fair enough, willing to compromise on everything except dumbing parts down. That's the one rule I made for myself when I picked up the bass. I play simple if I want to, but I usually don't :)
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Playing a less busy part is not the same as "dumbing down".

I've got nothing against busy parts in a general sense, but busy in every song is boring for the listener. Mix it up a little.
 
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#42
Dexterzol said:
It's gonna be an originals thing as far as I know. We don't have an identity yet, I just wanna make good music and have fun. I'm naturally quite showy, I play busy and I dress like a peacock on stage :D
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Buy a Strat, make the guitar player rhythm guitar player, hire a bass player, and become a power quad.
 
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#44
The presentation overall doesn't paint the best light for your ego haha, but I'm saying this particular thing only for my opinion of the longterm musical prognosis: this ain't it, chief.

If y'all aren't going to get along and aren't open to even a certain amount of compromise for the sake of working together, then don't work together. It will be a headache, lots of interrupted songs followed by arguments, bad energy all around. You may "make it work", but will you actually feel fulfilled playing in a group where another member resents everything about your style of playing?

I know I wouldn't. But empathy is as personal a trait as any.


On a far milder level but similar vein, I had two rehearsals with a group I couldn't play with regardless because they chain-smoked in an unventilated room, but they wanted me to play 3-chord southern rock songs with them for six months before any plans of a live show, twice a week, playing root notes and ONLY root notes. Anytime I added even a fifth or rhythmic variance, that was too much. Play the roots.

Yeah, wasn't working for me. They were good musicians but this was a perfect scenario for the guitarist to get something like the new EHX Bass9 Bass Machine pedal. I wasn't going to just play what I wanted and cause problems; instead, I told them what's up and then got gigs playing music way way more my speed. And we're cool.
 
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#45
I just became a member of a band where I am not the leader. Almost every song called up so far has simple 1 5 bass lines. They are also songs I have never played before. I don't even have to try to sing. It's great just to listen to two(very accomplished) guitar players go. No worries, I'm lovin' it. If I suggest a song, they just play it
 
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#46
To me, the musical dialogue and verbal dialogue are different modes of one ongoing group conversation.

It’s all just us being ourselves and trying to put it together in a way that works for us all.

So.. if we’re doing that honestly and trying hard..... well, that’s all we can do. It will work musically and socially, or it won’t.

But it does seem to work best when I expect the result to NOT be exactly what I wanted ... but rather when I expect it to be something I couldn’t want or imagine on my own because it’s the combination of the three of us.
 
#53
Oh wait, you're the cat who's 18 in the other thread? Lol "old" bandmates?

Cmon man.

Let those cats do their thing, or if the drummer and you are tight, put him on the short list for your solo project or joint gigs with faster-moving acts. And for goodness' sake, learn HOW to play in the pocket with minimal motion, or at least with just moderate levels of motion. Why, you ask, would I suggest that when I'm the same guy who quit an outfit that wanted me to play root notes? Because even a stylistically busy player like Thundercat has sections of open space, slow motion, or just plain laid-back groove, and that's because it's musically refreshing to let contrasts overtake the flow of energy.

If a whole continent is high up from sea level, it's not mountains, it's a PLATEAU.

Don't be a plateau.
 
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#54
There is such a thing as "good busy playing," and a thing called "bad busy playing." Know the difference. Even the busiest players out there know when it's time to back off and let someone else shine when it's their turn to shine. If you're so unwilling to back off your busy playing to the point where you step all over the vocal or someone else's solos, your band will suck and it'll be your fault.

As for dressing like a peacock, I'm all for it, but I'm also all for everyone in the band looking like they're in the same band. Picture Gene Simmons in a band with David Bowie and 70's kimono-wearing Neil Peart. Doesn't work. So settle on a look and don't try to out peacock everyone with a completely different style.
 
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#55
Beej said:
Remember all... that TB members represent all walks of life...although some are less represented than others. The OP is 18, Swedish, and loving music. I made some fundamentally different decisions and choices when I was 18 versus when I was 48. I had very different motivations than later in adulthood, and those younger-me motives were driven by different developmental needs, and a much different context than later years. Just sayin'... :D

OP I'd only say that you need to follow the beat of your own drum, and work out any challenges as you come across them. Assert yourself, but it's also wise to allow some room for others to assert themselves too... :thumbsup:
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When we were 18, we probably also needed someone to tell us when we were coming off as jerks. I wish I'd had a few more people to tell me that at the time.
 
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#57
Backdrop said:
What's the difference between a trio and a power trio?
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vvvmmm said:
The Who were not a power trio, nor Zep, because of the separate vocals.
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The Who and Led Zeppelin were not power trios because they had four members. By definition, a trio has three.

Wikipedia says a power trio is "a rock and roll band format having a lineup of electric guitar, bass guitar and drum kit... leaving out the second rhythm guitar or keyboard instrument... that are used in other rock music bands that are quartets and quintets".

I'd add another caveat in that usually in a power trio, all three musicians are virtuosos. There are no passengers in a power trio. For example, even though The Police was pretty much all about Sting, Andy Summers and Stewart Copeland were very good at what they do and were a vital part of the band's sound. Cream, possibly the epitome of power trios, was the sum of three amazingly talented parts.

Being a busy bass player can work in a trio, as it can fill in the spaces left by the "missing" instruments, and you can make it part of your sound. But making the band all about you, making all the decisions, wanting to get your way, having all your non-negotiable terms and conditions... that's a great way to break up a band, and more likely your friendships too. I'm glad I'm not in a band with you.
 
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#58
whero said:
The Who and Led Zeppelin were not power trios because they had four members. By definition, a trio has three.

Wikipedia says a power trio is "a rock and roll band format having a lineup of electric guitar, bass guitar and drum kit... leaving out the second rhythm guitar or keyboard instrument... that are used in other rock music bands that are quartets and quintets".

I'd add another caveat in that usually in a power trio, all three musicians are virtuosos. There are no passengers in a power trio. For example, even though The Police was pretty much all about Sting, Andy Summers and Stewart Copeland were very good at what they do and were a vital part of the band's sound. Cream, possibly the epitome of power trios, was the sum of three amazingly talented parts.

Being a busy bass player can work in a trio, as it can fill in the spaces left by the "missing" instruments, and you can make it part of your sound. But making the band all about you, making all the decisions, wanting to get your way, having all your non-negotiable terms and conditions... that's a great way to break up a band, and more likely your friendships too. I'm glad I'm not in a band with you.
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Yeah, it's the non-negotiable part that becomes a deal breaker.

OP, how's that working for ya in your non-band life?
 
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#60
Dexterzol said:
...but I'm not the supporting player type of guy, and given that I write a lot of the songs, there's gonna be a lot of busy playing
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The thread has run on quite a bit since this was posted, I’m late to the party.
But if you write a lot of the songs, you control exactly how busy the bass is going to be.

I’m sympathetic as I speak from experience as a busy bassist - it works for the band I’m in which is pretty hectic at times, but I don’t have a divine right to play as many notes as I want and I have definitely overplayed in the past, to the detriment of what I’ve been trying to achieve.
 
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