BigRedX

A few? I t was over 60 if you took your time to scroll through the whole list.

Unfortunately not. If you click on the Vendor List button you will find that are over 60 organisations whose cookies cannot be declined.

I'm not so sure. Back in the early 80s there wasn't a big difference in ticket price between a band who had been on TotP last week playing at Rock City and someone you'd heard once on John Peel playing at the Ad-Lib Club. I suspect the band playing at the Ad-Lib would have come away with a small profit provided there was a decent turn-out, but the Rock City gig was almost definitely a loss-leader for selling more copies of the band's latest album.

Which version of the Helix do you have? I play in two different bands which require the use of different basses and use the set list function to be able to tailor my pre-sets to suit each different bass that I use.

The difference was that in 1980 the tour was the promotional tool to persuade you to buy the band's records. Most tours actually lost money, but a successful band would sell more than enough recorded product to make up for this. Now the tour is the product and the recordings are essentially given away for free in order to persuade you to go and see the band. Consequently you are now seeing not only what it actually costs for the band to play a series of gigs but also be able to make a living from doing so.

For me A Flock Of Seagulls represent everything that was bad about early 80s music. They came across as wannabes who hadn't quite "got it" and were trying just a little too hard. Also my appreciation of them wasn't helped by the fact that they always seemed to be popping up unannounced as support for bands that I did like. during 1981 and 1982 I must have had the misfortune to see them play on at least 5 separate occasions. Buying onto all these tours was obviously a winning strategy for their record label because eventually they had a couple of hits. Unlike several of their contemporaries I haven't come to appreciate their music in retrospect.

Remember that a lot of digital devices and Class D amps have a built-in high pass filter, so depending on what else is in your signal chain you might not need a dedicated device.

Until we get some explanation as to why there are over 60 cookies that cannot be declined and what those cookies are actually for, Basschat will have to go back into it's single use cookie flushing browser.

All my good friends are either musicians or people who are interested in music. What I do find interesting is that when I meet new people and they discover that I play in bands they are nearly always surprised that my musical interests for both playing and listening are quite tightly focussed and that I don't have a blanket acceptance of all music.

Who are the following, what do they do, and why can't we decline their cookies? Skimbit Ltd Confiant Inc. Visarity Technologies GmbH DoubleVerify Inc. Adssets AB Mirando GmbH & Co KG Integral Ad Science, Inc. Polar Mobile Group Inc. Telecoming S.A. Seenthis AB HUMAN Papirfly AS NEXD CHEQ AI TECHNOLOGIES Adjust Digital A/S Adnami Aps Adsolutions BV VRTCAL Markets Inc Kiosked Ltd Protected Media LTD Oracle Data Cloud - Moat Wagawin GmbH Bannernow, Inc. Jetpack Digital LLC Acxiom GeoEdge Ensighten IVO Media Ltd GeoProve Limited Redbranch, Inc dba Fraudlogix Sirdata Cookieless Silverbullet Data Services Group Terminus Software Inc. Stream Eye OOD adbalancer Werbeagentur GmbH PML Innovative Media SmartFrame Technologies Ltd Vyde Ltd. Somplo Ltd Sqreem Technologies Private Limited TMT Digital Inc dpa-infocom GmbH Brandhouse/Subsero A/S Convo Ink xpln.ai SAS AdInMo LTD streaMonkey GmbH Alkimi Frii ApS Zeit Agency ApS Sitewit, Corp AccountInsight Ltd Aderize, Inc. fraud0 GmbH Viomba Oy Channel99, Inc. Videobot Ltd Appstock LTD. Dando online LTD EMBRACE Systems GmbH Zuuvi ApS Some of the organisation names are a little disconcerting to say the least...

Surely, if your buying flats you'll never need to change them again in which case £100 is a bargain.

Unless the design has changed since I bought mine, while you can change the length of the strap, that doesn't make any difference to how uncomfortable it is for me to wear for any length of time. I have mine as tight as possible so that I can still get my arms in, but simply because of the distance between the top and bottom anchor points there is still too much play in them to hold the bag securely against my back and it hangs too low. What really needs to be changed is the point at which the straps are anchored at the top of the bag. For me if they were moved down to just above the back pocket opening, that would lift the whole bag up on my back so the lower part doesn't slap against the backs of my legs when walking and it would be possible the properly tighten the straps like a rucksack.

As a resident of NZ if your are playing songs that you wrote, then you are better off joining whatever PRO specifically covers your country rather than one based in the UK. Also if you can't be bothered, I'm sure Bono, Elton John, Taylor Swift and Ed Sheeran will happily take what would have been your share of performance royalties. Maybe at some point some of it will even trickle down to me, so in advance I'll say "thank you (sucker)".

While I'd like to think that it was all down to my compositional prowess, in reality we had an outrageous exhibitionist front man which got us lots of gigs. At one point we could have been playing every Friday and Saturday night had the money and logistics been right. And despite the fact that we were writing at least one new song every month, I'm pretty sure that we could also have played a very similar 10-song set for the entirety of our 6 year existence.

I know that's said in jest, but just to give you an idea of how much you can make in performance royalties from gigging your own songs, The Terrortones made enough to cover most of our recording, mixing and mastering costs for 2 singles, a 5-track mini album and a full LP from playing 30-40 gigs a year over 5 years plus some local and national radio play. That's a decent enough income.

But for creative jobs how can you prove the people involved have been "productive". A lot of my work involves thinking. There's no visible product during this thinking time, but it's just as important as the bit at the end that produces and actual design. How about the times when I need to step away from my work and come back after an hour or two with fresh eyes. Do I get paid for that too?

How? Who by? How do you accurately measure the time spent? Some songs take less than 5 minutes to write. Others can take years off and on and maybe hundreds of hours of actual time from the first inspiration to when it can said to be complete. Which is worth more? How do you even tell? I get this quite a bit in my day job of graphic design where some of my clients will question why I have spent so long creating their logo/leaflet/pack. The actual final design may have only taken an hour of two to produce, but there could be days before hand of working through unsuccessful options to arrive at the chosen result.

I've had a Mono M80 for over 10 years now, the plastic bits are still as robust as when I bought it and the handle despite being in almost constant use when carrying it has yet to even come close to looking as though it will fail. However I completely agree with you about the lack of comfort when wearing on your back. Mine constantly slaps against the backs of my legs to the point where it is unbearable for anything other than carrying from the car/van into the venue. This lack of comfort does appear to be linked to the person's size/build as there are plenty of others on here who don't appear to have a problem with it. For this alone the M80 fails as gig bag for me because the whole point of a gig bag is that I can use it to carry my bass when I walk to rehearsals. On the other hand there is no denying the protection it offers. The semi-rigid nature of the case means that it can be squeezed into spaces in fully packed cars where a standard hard case would never fit. Also mine was instrumental in protecting my bass when a heavy speaker cab fell on it. The mono case absorbed the impact and saved both the bass and the cab. A more conventional hard case would have probably shattered resulting in damage the bass and cab as well. I don't know what the current state of the competition in the semi-rigid case market is, but when I bought my Mono it was by far the smallest and lightest option. Some of the others were larger and heavier than a Hiscox hard case. Hopefully there is now some more serious competition in this area.

If they are originals bands they should really be submitting their own set lists. It is in their interest to do so, and as a writer member of the PRS I wouldn't trust anyone else to do it for me (especially a venue or promotor). That way if you don't you've only got yourself to blame for your lack of performance royalty income.

Mostly it's to save the TV or radio station having to work out what the songs are for themselves if/when they broadcast the gig, as the performance royalties for this can be quite significant. The one time I earned enough in a year to receive a share of the unallocated royalty pot was down to the single broadcast of a radio session my band did. They'll ask for the lyrics to make sure they don't inadvertently broadcast anything offensive. The Terrortones fell foul of this several times where various radios stations wanted to play our recordings but had to decline once they saw what was being sung, to the point were we considered radio-friendly versions of some of the songs when we made our album.

I've been supplying set lists to the PRS for the originals bands I've been in for the last 25 or so years. When I look at my PRS royalty statements it is obvious that a lot of the time the band I'm in is the only one at the gig doing this as we have the full royalty allocation for the gig despite the fact that there were 2 or 3 other bands on the same bill. The individual gig payments might not be much most of the time, but for a prolific gigging originals band they add up over the year. The Terrortones paid for the majority of our studio time from PRS royalties. Another reason why IMO being a composer/songwriter is more important than simply being a musician.

@Al Krow Covers bands aren't stealing anything. Once a song has been recorded and released to the public it's fair game for anyone to do their own version. Technically either the band or the venue should be submitting a set list to the PRS. While each gig doesn't generate a lot of money (£6.00 for a pub and club gig divided between all the song writers whose works were performed that night). Everything else goes into the unallocated royalty pot (see above) and given that the vast majority of covers bands play songs that are already popular, it works out pretty evenly at the end. Lets also put to bed the myth that originals bands play to tiny audiences for no money. The only reason they do this is either because they have deliberately chosen to, or because they are boring (musically and or visually) on stage. In nearly 45 years of doing various originals bands gigs I think the only times we haven't been paid was a few support slots done in the early days of the band in order to get out name out. Everything else at the very least we got full expenses. Of course I have found that if you don't ask for money then you may well not get anything, but then you only have yourself to blame. This year I've done some great gigs with both my originals bands including several that were completely sold out; we've had the audience up and dancing from the first song and audience members singing along to everything except the songs that were so new we haven't recorded and released them yet. That's all for music that I have been responsible for creating. Also I'm not convinced that covers bands gigs are quite as lucrative as is made out, especially when you take into account the time, effort and expenses involved, certainly my experience of doing both at the same time, was that the covers band gigs per hour and taking into account my individual expenses was less well paid than the originals band I was in at the time, but that's probably the subject for a completely separate thread.

You have to have reached a certain level of PRS royalty income from your own compositions, before you are eligible. From what I recall the one time I earned enough to trigger it back in the 80s it was at least £250 per year and then you got a share based on your actual royalty income for the subsequent 2-3 years. I suspect the figure is higher now as I've managed to exceed this a couple of times in the past 15 years but I haven't been eligible this time around.

As the author of the first quote - taken slightly out of context - what @Lozz196 said is pretty much my experience too. I've played and attended all sorts of originals bands gigs (including lots of punk and psychobilly bands) and violence amongst audience members is very rare. On the other hand pretty much ever single one of the covers bands gigs I've attended has had some kind of audience incident, usually caused by knobhead men who've had too much to drink. If not going to sub-Weatherspoons pubs to see what looks like a random bunch of people churn out songs that I have no interest in makes me a snob, then I completely embrace it. At least there's less chance of getting beaten up, if I stick with originals bands.

Just buy some new strings.