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Hey Ya by Outkast?

This all makes for very sad reading.... I really hope you can all find the joy in just holding and playing your instrument again (fnar...fnar...). It's tragic to think that, for many of you, if you don't have a gig then you don't practice or play at all... As I said before, I've taken the lockdown opportunity to play for myself and to rediscover the innocent pleasure of owning, playing and learning my instrument for no other reason than it is just 'part of me'. Cheers to you all..... and here's hoping you too can rediscover than simple pleasure. x

I play bass because I enjoy it and find it hugely rewarding. With no gigs happening I find I'm actually playing more because I WANT to and not because I HAVE to. That's not to say I don't enjoy gigging - I love it! Rather, not having to practice for a gig means I play whatever I want, whenever I want, and I've rediscovered my love for just 'playing' the instrument for my OWN satisfaction.

https://www.fretnation.com/spector-legend-truss-rod-cover

Dunc very kindly sent me some Schaller strap pins gratis. Top chap and a credit to Basschat. Recommended!

Cheers! Just ordered 4 sets.... lets see what they're like....

I have an arrangement for my basses with an old friend too... lol!

Pretty lady... and a Spector.... Win double!!

Box office percentage from ticketed live events gets paid across the actual setlists performed. Other general license revenue gets spread far and wide... not just to the Maccas/Madonnas of this world...

The venue has the license for live music. A band can play almost any songs they like unless the original writers have a special injunction against their use outside of the intended purpose e.g. some of the songs from Grease may not be used outside of a theatrical performance of the whole show....

Again, who can police this? There will always be very occasional exceptions to any rule... and exceptions cost time and money to administrate..... A venue isn't going to ONLY have music that is not registered with ANY royalty collection society.... and, even if they believe the writer isn't a member, they may well have a publishing agreement with someone who is....

I'm not sure you understand. PRS doesn't 'get a cut'. The songwriters of ANY music performed get the 'cut' after a very small admin fee for collection on their behalf. Also, a lot of music performed live or on playback across the nation is written by composers who are NOT the band members. Should they not get their money?! The small % of box office that PRS charges the venue to pay out the 'performing right' is suggested to be raised by the venue itself by e.g. adding a 1p to a pint etc but this is seldom done and couldn't be policed anyway. The venue are NOT supposed to pay this fee from the band's takings.... but who, honestly, can stop them? It's a no win.... PRS gets called the music police by the ignorant, but actually they have no such powers to enforce the way venues operate.... Want to blame someone? Blame the venue for passing their license costs back to the performers who keep them in business....

Ah, the old 'big bad PRS' thread raises it's ugly head again.... A few points: If you aren't a PRS member - you won't earn. That is unless you are published, get airplay/streamed and your publisher is honest enough to pass you a few scraps. If you are receiving commercial broadcast or airplay.... or you're gigging regularly in medium sized venues (oh, them were the days) then it's worth joining... If you are a PRS member then radio & TV airplay gets reported regularly and to a generally high standard by the Broadcasters, but if you know of any broadcast that you haven't received money for after approx 6 months then you can tell PRS direct. PRS has an unclaimed royalty file for all members who know they have had airplay but haven't received money (possibly due to incorrect or missing reporting). You can find your unpaid works there and claim them. If you are a PRS member and gigging then YOU should report your live performances. If they were ticketed events in arts centre size venues or above then they should be licensed to pay out on the % of box office. If they are smaller pubs etc then you may be able to claim a small compensation using the 'gigs & clubs scheme'. Do NOT leave it to the venue, or your band manager to do this, even if the venue ask you for a set list! Neither have any interest in you getting your money (unless you were stupid enough to give your band manager a % of PRS royalties...). It's called the music business, take care of your OWN business when you can...! If you are playing music on a radio/playback system etc in your workplace or on the shop floor then you are using music to create a 'pleasant working or customer experience'. That music is therefore doing a job and should receive a payment. Do workplace radios etc pay out exactly what was played? Of course not! That would be ridiculous in admin time, effort and costs. There'd be no money left! It IS paid out across a huge sample of music of different genres receiving heavier rotation at that time.... and then also paid out across lower earning music as well to attempt to redress the balance. It's an imperfect system, but as musicians/writers we should be glad that someone is giving it the necessary attention on our behalf... PRS is a non-profit making society, staffed by musicians, for musicians and is always trying to reduce costs/increase payouts. They are the #1 low admin cost/high payout royalty collection society in the World and have well known overseas composers flocking from other societies to join as a result. They also do solid work with new talent (PRS foundation/event sponsorship/showcases etc) and have a fund for older struggling composers going through hard times as well as other charitable, music promotional projects Are they perfect? No, far from it. No company is, especially in an ever changing environment (Covid, streaming, no live music, Brexshit etc). There are ALWAYS improvements to be made.... but their heart is in the right place and they are a huge force for good in lobbying Govts and industry organisations in protecting and maximising member rights. Directors earn salaries commensurate with any other highly experienced music industry professionals within the non-profit making area, but there are no fatcats per se.... As for this new tariff. It was agreed after consultation with all the major music industry bodies, but it is a fluid thing and expect there to be changes/improvements with time & experience. Sounds like I'm a salesman, right? Well, I'm just speaking from experience, having worked there for 25 years now, only on an average senior admin pay but proud to be assisting my fellow musicians and making a positive difference.

You mean some people have a different opinion? Well, hell, we'd better not post anything just in case someone doesn't agree with us.... Yep, that'd help!

No shaming here, just appreciation...

Glad I could help you find your 'holy grail' after all this time!

Thanks for the warning. I've just watched that a *cough* few times and still haven't unmuted it....

Beat me to it.....!

Doug Wimbish gives bass lessons...

I'll wait for Epiphone to put out a better 'Vintage Pro' version in black or tobacco sunburst with a decent bridge (like those in the catalogue pics above)..... THEN I'll be interested

I've mainly used UPS (thru Interparcel) and had good experiences, especially if you pack well (inc outer box). I don't ship over a weekend and always try to go for 24 hour delivery so it's not sitting in a cold warehouse unnecessarily or possibly getting lost....

Will PM

Exactly! Except I don't play prog/tech metal.... lol! I actually had the B3K and B7K before Darkglass became 'the norm' and they were good & versatile.... but I prefer a cleaner boost these days. A slight growl/grind is imho so much more preferable to a hugely compressed, mid-sucking, hugely overdriven clank... especially in a band mix. ANYWAY.... back on subject.... I'm looking forward to these new Spector Korean models and already have an Ethos 4 in 'interstellar' on order! Due end of July I believe...

Just need someone else to offer a different tone to the endless Darkglass players now..... lol! Those pedals, imho, are the reason so many prog/tech metal bassist have the same tone... no matter what bass they play!

With a different bridge and in tobacco burst or black I'd be all over that. As it is..... nah.... Here's hoping Epiphone do a Vintage Pro version with my above spec...