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eddie1261
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I think we may all know at least one of "this guy".
I know of a drummer in this area from a time when he asked me to play in a band with him. All I knew of the guy at the time was the level of the game he talked. As time passed, I recruited a guitar player, a bass player, and a singer/rhythm guitar player. I made a CD of 12 songs and told everybody involved "This is the first 12 songs for our first meet and greet rehearsal." 4 weeks later we met for the first time and started at the top.
The absolute weakest player in the room, by a LARGE margin, was the big talking drummer. No concept of tempo AT ALL. Started everything too fast and speeded up from there. So we staggered through the songs and I went home and ran every song through a BPM tool, and then sent out an email to everybody to "review the material again but run them through without the tracks, just your parts, playing against a metronome at the BPMs indicated."
We met the next week, and he was no better. That went on for a long time, like 6 rehearsals. He couldn't stay in time, and after every fill he lost his place and the music stopped.
The next rehearsal I said "I would like to try something." I set up a click track through the PA and said "I want to run this song once with just the click and instruments. No drums. I can hear things better with just the click." The song went through as tight as could be. We did that for a second song. Then a third. Everything was perfectly in time. Finally I said to the drummer "You see where this is going, right?" I had to explain to a big talking drummer that the correct way for him to practice was NOT playing along with CDs. To just set up the click track and play with it. 5 minutes at one tempo, then 5 minutes at a faster tempo. Then 5 minutes at a slower tempo, and so on. No less than 60 minutes every day with a click track. THEN play with CDs if you want, but he needed nuts and bolts level practice. When you play along with Rush records, you can't remove the Neil Peart from your ears. It's like me singing along with Sinatra CDs. I sound GREAT when Frank is singing along. As soon as the CD stops I sound like Britney Spears without autotune.
We ended practice. The next day he told me, in true cowardly fashion he sent an email, that I was fired and made me an offer to buy my PA. (I countered $200 higher and he bought it. What he offered initially was about right, so I won.) At the next rehearsal, the kid phenom guitar player quit because he fired me. Once I was gone they had no "musical director". He got a new guitar player and they played 5 gigs before 2 members quit, leaving him and the bass player. Than the bass player quit on him too. FOUR YEARS elapsed as he tried to retool, and he did with an ever changing lineup of totally "scrap heap - whoever will do it" level players and he played 2 gigs in those 4 years. Yet he maintains a web page, constantly makes silly, trivial changes to that web page, and really continues to think he has a viable band.
Do any of you know anybody THAT delusional?
PS I sent him 2 tickets to our show at The Civic Theater in November, under the guise of him being a "contest winner" held by the Civic to thank his employer for being a large sponsor for the rehab on the place. He had NO idea I was in that band. The announced us, we walked onto the stage, kicked off the first song. I couldn't see out into the crowd because of the angle of the stage and the lights, but as the second song started I saw him walk up to the front of the stage, get my attention, flip me off, and then leave. LOL!! (Our band is GOOD!) I expected a hate mail but didn't get one.
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My experience(s) were the opposite mostly The good drummers we used *wanted* to have a click They didn't really need it, but knew the value Then they were the ones that sometimes quit (usually for "dumb" reasons) "I can't play a song that (kinda sorta in a round about way) condones being gay" So we generated the drums instead, which worked out great, since the song had a click from the very beginning  (had to keep it PGMusic related) Same guy quit previously because his wife was jealous Imagine being jealous of your significant other for doing something they love and makes them happy We weren't even gigging yet, so not any other woman threat, just that he spent a couple hours every Thursday night with us at the studio recording <confused> I like when my wife has a hobby With drummers, I guess, there's no way to figger 'em out
I do not work here, but the benefits are still awesome
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Bob, they move to a different ..................... wait for it........... beat!
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eddie1261
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Sometimes drummers quit over a song because it just isn't the right time...
Drummers by nature are volatile. They kick, they crash...
And their favorite song is Beat It!
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Drummers and bass players joined at the hip, a requirement. If you don't have a bottom, you don't have a band.
The drummer is the most important member of the band. Without a good drummer, you don't got nothing. With a good drummer and a bad bass player, you still don't got nothing.
Drummers and drama, what a concept!
Billy
EDIT: The Nashville New Years Bash...Dierks Bentley Band with drummer Steve Misamore...great drummer!
Last edited by Planobilly; 12/31/21 06:06 PM.
“Amazing! I’ll be working with Jaco Pastorius, Charlie Parker, Art Tatum, and Buddy Rich, and you’re telling me it’s not that great of a gig?
“Well…” Saint Peter, hesitated, “God’s got this girlfriend who thinks she can sing…”
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My experience is a bit odd. The first band I ever played in had a killer drummer who was an insanely better musician than me. He led the quads section in marching band as a freshman in HS. Hero posters in his room were Louie Bellson, Buddy Rich, and Billy Cobham. He went to Central Michigan University and led the whole drum section. He also met Brian Vanderark there and joined The Verve Pipe as the keyboard player. Got to play rock star for a couple years on tour with their one hit, and ended up a school teacher at a charter school in Chicago where he ran the only percussion only band program in the country.
I was really really lucky to get to play with Doug. I was a low talent keyboardist that knew chord theory and could read chord charts and play along with him and Garo, our bass player, but I was totally out of my league. Garo became a urologist and was killed at his practice by a crazed former patient with a shotgun about 10 years ago. The Charter school were Doug taught got defunded.
He doesn’t even play much anymore
Last edited by rockstar_not; 12/31/21 06:36 PM.
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My drummer story is different, but still amusing.
This happened when I was in a 5-piece band. Earlier that year we lost our bass player and were out of work 2 months finding and working in a replacement.
Then we lost our drummer. We auditioned a number of drummers and found a good one. She had a small kit, kept good time, created nice grooves, supported the songs well, had tasty fills, and could sing background vocals.
We were only out a month, working her into the band.
We got to our first gig. It was for a country club we played at often. We usually did a light dinner set and then kicked up the energy level for dancing.
The dining room was filled to capacity, so the manager opened the accordion divider and told us to set up in the lounge, facing the dining room.
The drummer then said, "God will never forgive me if I play in a bar."
I responded, "God will have to forgive me for homicide if you don't play in this bar tonight."
That night, the future Mrs. Notes and I made a decision. Since the first instrument I learned was drums, I also played bass, rhythm guitar, and was acceptable on keyboards, we would become a duo.
I bought a Teac A3440, 4-track, reel-to-reel tape deck and started making my own backing tracks. When dependable digital came around, we switched to MIDI sequences.
That was in 1985 and until COVID we were never out of work again. A year and a half after COVID made the scene, we are back gigging.
For me, It's good to be a multi-instrumentalist.
Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
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eddie1261
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2 months to find a BASS player? I once told our bass player that if he had a heart attack and died during sound check there are probably 2 or 3 people in the AUDIENCE who can pick up his bass and play the show.
I mean, it's BASS. Just play low notes and nobody will notice if you are 2 frets off.
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Drummers and bass players joined at the hip, a requirement. If you don't have a bottom, you don't have a band.
The drummer is the most important member of the band. Without a good drummer, you don't got nothing. With a good drummer and a bad bass player, you still don't got nothing.
........ Got that right! We had a drummer who didn't show one night. My buddy said my daughter plays drums so he went and got her. She was 15 at the time and she played with us for 4 years. She was not fancy but she kept a steady beat and all of her rolls and such were also in time. Now bass players were our problem. There were not a lot of good bass players in our area at that time. We went through a ton of them.
I got banned from Weight Watchers for dropping a bag of M&Ms on the floor.
It was the best game of Hungry Hippos I've ever seen!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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2 months to find a BASS player? I once told our bass player that if he had a heart attack and died during sound check there are probably 2 or 3 people in the AUDIENCE who can pick up his bass and play the show.
I mean, it's BASS. Just play low notes and nobody will notice if you are 2 frets off. A couple of weeks to find one that wants to work, and 6 weeks for him to learn all our songs. Nobody told us "Just play low notes and nobody will notice if you are 2 frets off" but if it happens again, I'll remember that  Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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eddie1261
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How about the guy who "makes the scene" seeing all the bands play, goes from music store to music store every day to hang out with the cool kids, but nobody has ever seen or heard him play? Ever. I probably know 5 or 6 of those.
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Or the guy who comes back from break late because he is chasing some girl.
Or the guy who drinks too much on the gig.
Or the guy who shows up for rehearsal unprepared.
I've always thought that music is a great profession, except for these three types of people:
1) Club managers
2) Booking agents
3) Other musicians (I consider myself in this group)
I've never had any problems with the audience, though.
Notes ♫
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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That's what I love about Band in The Box musicians. They never show up late, they never show up drunk or high, they know their part, and they don't try to flirt with the ladies in the studio.
All that aside.... I'm spoiled.
I do recall those days of trying to start a band, or fill the position of someone who quit. Auditions for various parts. Drummers included. One kid showed up with a kit that would make Neil Pert envious. This was for a country band audition. OK.... so, we started into a few tunes.... the kid was trying to impress and played everything in his kit on every song. We hit a little uptempo rocker and he threw in a fill and every time he did, he came out of the fill at a noticeably faster tempo. It's a pain to sing while trying to put the brakes on, to slow it down to the original tempo. By the end of the song, we were blazing down the road. He didn't work out.
Another guy comes in and he has a kick, snare, one tom, a small crash, and a HH. It looked kinda like those kiddie kits. When he started to play... oh my, talk about a solid groove. He was only wanting a PT gig and we were a full time band. UPS driver career topped stardom and fame..... lol.
Word was out that we were looking a drummer and one from another band that was having drama and was about to crash and burn heard and contacted me. We hired him. He worked out well.
With a drummer and a bass player who know how to play together, you don't hardly need anything else. I was in such a band for a number of years. It was a joy to play in that sort of situation. It was magic.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Except for long ago, all of the bands I have played in have been Church worship bands. These have their own sets of “that guy”.
1. Keyboard player is used to being the whole band and has a really strong left hand and can’t stay out of the way of the bass player. Doesn’t know how to play with right hand only (which also means they have no idea how to play with joystick or pitch/mod wheels. Also, changing presets on the keyboard is a scary thing so you get one sound for the whole set!
2. Guitar players use barre chords for everything (that was me 25 years ago). Causing similar problems to #1 on the low end of things
3. No music director that knows how to run a band in general
4. Full horn sections (4 trumpets, 2 trombones, two sax) with an electric drum kit , in a room that seats 150-200. Everyone tries to play to be heard, and the all hands on deck just make it sound like a poorly executed Who concert!!! Problem: see #3 and #1.
5. 5 new songs every week. Not enough time to fully rehearse together and arrange for the room, etc.
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eddie1261
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And then there's the 3rd guy. The one who claims he used to play with a somebody, thus making him a somebody also-ran by association.
Here in Cleveland there was a band in the mid to late 60s called The Outsiders. Midwestern radio listeners may remember their hit, "Time Won't Let Me". That band was fronted by the late Sonny Geraci. The song had a somewhat weak 8 bar guitar solo that the locals raved about because they were the "local boy makes good" band. I lost count of how many guys came to my stage asking to sit in claiming that played that solo. I had a standard answer.
"Oh really? You played the solo on Time Won't Let Me? Interesting. I do have to say that you are looking pretty good for a dead guy! That solo was played by a guy named Al Austin. Al was only 2 years older than me and I knew him fairly well. He was rushing to get to a gig out in Geneva On The Lake when his car hit a bridge and he was killed instantly. That happened in 1968. (pause) Get the ^@%^$ away from my stage."
I had dozens of drummers come up and say they played with Joe Walsh. Joe ALWAYS had Joe Vitale from Canton on drums. None of them were Joe.
Standard rule, cast in bronze, NOBODY sits in with my band. Ever. I can sound bad on my own without a stranger who doesn't know our arrangement of a song missing a bridge.
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FYI the Outsiders' Time Won't Let Me was a big hit here in the Rochester NY area.
I got banned from Weight Watchers for dropping a bag of M&Ms on the floor.
It was the best game of Hungry Hippos I've ever seen!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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I used to play "Time Won't Let Me" in my old cover band.  Regards, Bob
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Time Won't Let Me was a hit in South Carolina too. +++ Time Won't Let Me Wikipedia +++
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After The Outsiders and then Climax, Sonny did this one last album in 1983 with a lineup of the best local guys, largely the Donnie Iris band members. (Sonny's real name was Emmett Peter Geraci.) One song was also done by Bon Jovi, as it was written by a local Cleveland guy, Mark Avsec. Mark grew up 5 houses away from me on the lower east side of Cleveland. 2 were written by Eric Carmen. One by a guy named Gary Jones, one of my best friends over the years who after his playing life became an entertainment lawyer, as did Avsec.  Now the fun story about this was that the Donnie Iris guys contractually could not have their names listed on the album jacket. For the jacket, they listed a bunch of guys who were a totally different band, one of whom I still see from time to time. We still laugh about the band that never was, those we laugh with more reverence now that 2 of the 4 have passed away. Hard to believe Sonny has been gone 5 years now.
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Cool. That Wiki link mentions Al Austin!! I guess that song was bigger than I was ever aware it was. Remember I was not yet 15.
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New RealTracks Released with Band-in-a-Box 2025!
We’ve expanded the Band-in-a-Box® RealTracks library with 202 incredible new RealTracks (in sets 449-467) across Jazz, Blues, Funk, World, Pop, Rock, Country, Americana, and Praise & Worship—featuring your most requested styles!
Jazz, Blues & World (Sets 449–455):
These RealTracks includes “Soul Jazz” with Neil Swainson (bass), Mike Clark (drums), Charles Treadway (organ), Miles Black (piano), and Brent Mason (guitar). Enjoy “Requested ’60s” jazz, classic acoustic blues with Colin Linden, and more of our popular 2-handed piano soloing. Plus, a RealTracks first—Tango with bandoneon, recorded in Argentina!
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This collection includes Disco, slap bass ‘70s/‘80s pop, modern and ‘80s metal with Andy Wood, and a unique “Songwriter Potpourri” featuring Chinese folk instruments, piano, banjo, and more. You’ll also find a muted electric guitar style (a RealTracks first!) and “Producer Layered Guitar” styles for slick "produced" sound.
Country, Americana & Praise (Sets 462–467):
We’ve added new RealTracks across bro country, Americana, praise & worship, vintage country, and songwriter piano. Highlights include Brent Mason (electric guitar), Eddie Bayers (drums), Doug Jernigan (pedal steel), John Jarvis (piano), Glen Duncan (banjo, mandolin & fiddle), Mike Harrison (electric bass) and more—offering everything from modern sounds to heartfelt Americana styles
Check out all the 202 New RealTracks (in sets 456-467)
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You’ll also get slick ’80s metal guitar from Andy Wood, modern metal with guitarist Nico Santora, bass player Nick Schendzielos, and drummer Aaron Stechauner, more praise & worship, indie-folk, modern/bro country with Brent Mason, and “Songwriter Americana” with Johnny Hiland.
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- Look Ma! More MIDI 13: Country & Americana
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- Look Ma! More MIDI 14: SynthMaster,
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Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Windows!
We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Video: Band-in-a-Box® 2025 for Mac®: VST3 Plugin Support
Band-in-a-Box® 2025 for Mac® now includes support for VST3 plugins, alongside VST and AU. Use them with MIDI or audio tracks for even more creative possibilities in your music production.
Band-in-a-Box® 2025 for Macs®: VST3 Plugin Support
Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
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