Lw.

[quote name='lobematt' timestamp='1438518518' post='2835088'] Mainly because you generally have to pay for business accounts! At the minute we all declare our earnings to HMRC and are registered as self employed. The band itself doesn't actually make any money, just the members of the band. I'm sure it falls into all kinds of grey areas but was just wondering if anyone had set up anything similar?? [/quote] Yes but let's face it; if you're earning enough to require a specific band bank account (or even non-cash payments) you can afford the tiny monthly fee. I would have suggested the Ltd co route though I accept its a pain if there isn't someone in the band willing to push the admin.

Bands first gig after 6 month break & line up change; well known music pub in London. Not the fullest room I've ever seen but I think we played well & received some complimentary words from several members of the audience so thats nice. I thought the other three bands on the bill were great, mildly annoying that the room only filled up once the dj came on at the end playing the same old bon jovi & g'n'r songs but hey ho, that's the joy of being in an originals band! Now time to sort more gigs out...

[quote name='Musashimonkey' timestamp='1438404973' post='2834266'] +1, also had the same issues on a full Warwick Corvette - so not just a Rockbass issue. [/quote] They're not actually issues though are they? Warwick's are just different to what you were used to before - yes they hang differently but that's just design, if someone went the other way they'd be saying how ungainly the fender body is, its just that there are more fender derived bass designs out there so most people find Warwick to be the design that's new/different. Neither are wrong designs IMO, just different & I find it fine switching between the two.

Given the fact you're providing a service & charging people for it in what would look to many like a business transaction it seems fair that the guy would think you need a business account. Any reason that you don't want one?

One of the reasons I'm after 2x112's is that I get to half of my gigs (in smallish London venues) via public transport so would just take one, the other half I'm able to take the car so would use two (it's a louder band too). The new PC's look to be of a similar size/weight to the barefaced & TKS options so I guess they should all be equally transportable - I understand what you mean about the old PC's they were just a bit bigger (which is why I held off messaging you about yours). Funkshui - Thanks for the offer but I'm only 20 minutes away from Bass Gear so I'll probably just go there, yours do look very cool with that vinyl though!

With neck dive; the only Warwick I've used that has has any neck dive was a thumb but that was only slight - the other two hang perfectly horizontally [ie no neck dive] when left no handed on the strap (though why you'd do this when playing is beyond me). The reason Fenders (and basses of that type) feel "more balanced" or just stay where you let go is because the bodies are heavy & the necks are very light, it doesn't necessarily mean anything other than the weight is all plonked in the middle - there is a reason for both techniques (be that balance, resonance or cost etc...). When wearing a bass I've never really noticed the concave body (or lack of) making any difference; this may be down to the height I have the bass or my body shape but to be honest I've always been comfortable when playing both flat bodies or curved. Curved definitely looks cooler though I'll give them that.

Bumping this thread instead of starting a new one: Is anyone else using the Purple Chili 112's? I'm looking to upgrade my rig to 2x112 cabs (well I'll buy one then wait a few months & buy the other) and partly prompted by CamdenRob's for sale thread Purple Chili have made it on to the list. At the moment it's a three-way between the PC 112's, the TKS S112's and the Barefaced Super Compact's - I can get to both Twyford & Brighton quite easily for trials but it's a 100 mile drive to the other side of London for PC so I'd be really interested to hear what current users think. I do generally prefer the looks of the PC and the fact he uses recessed solid handles over those external strappy ones but it's a lot of money to be spending blind (or deaf I guess) having never heard one! Any help would be appreciated...

2l is the very minimum of what you should drink a day, when you add in the effort of loading in & playing at rehearsals you need to be having more than that. As an example I drink a 750ml bottle of water at every rehearsal & have ran out by the end and I drink a lot during the day too.

I flick between jazz's & Warwick's all the time (and have played corvettes, thumbs & streamers), whether you like the way Warwicks hang or not is obviously just personal preference but I would say that if you have your strap length set so that both basses hang at the same level the notes you go to play will be two frets further away on the Warwick compared to the Fender position - you generally get used to it after a song but it is noticeable at first.

[quote name='Nicko' timestamp='1437567594' post='2827093'] Some people live for today and some live for tomorrow. I think you're the former and I'm the latter. I don't particularly enjoy my job most days. I wish I could be more like you but I'm in too deep, life's too comfortable and I can't imagine being skint. I've worked out a way to retire at 60 with a reasonable pension and savings - just counting down the years. [/quote] This is pretty much my problem too. RE the whole housing thing in the UK - the issue is for anyone under the age of about 45 in this country; if you don't own your house by the time you hit pension age you will be in serious financial trouble. Our rental markets & social care are not the same as other countries that have the relaxed attitude people seem to be referring to & the way our current government are going about things means it's only going to get worse (especially as the opposition are fading into obscurity). For someone in their early twenties now then a few years here or there trying to be a professional musician & so having low(ish) earnings is absolutely fine but the longer you stay out of the property game, the further you have to make up. For example, in the last year & a bit that I have owned my current home its real market value has gone up by (coincidentally) your average low-level office job salary - there's no way I could afford to save that kind of money in the same period, if I had left it & tried to buy a house now I wouldn't be able to afford the house & would have had to look at a smaller house or worse area, which is something of a feat given that I live in a tiny 2-up-2-down terrace in a not great area of a kind of rough town. Now I'm not trying to scare people off - as people have proven; being a professional musician is great, just don't forget that at some point in the future you're going to want to sit down & relax preferably with a roof over your head.

I'd never be able to afford to do it now (got a 30-year chain around my neck) but back when I was younger & a proper opportunity (ie real tour) came along I'd have jumped at it. Other than the mortgage, the problem is now that that being a musician (I don't include teaching earnings in this) just doesn't pay that well - I only have a mediocre office job but I'd have to be in a seriously recognizable/famous/successful band to earn more than I do currently. Depends what you want really - I have a boring office job but it pays for me to do fun things like music, if you do fun things like music as your job you'll obviously enjoy it way more but it probably won't leave you much time or money to do other things.

As a side note but kind of related; actors (and writers) on TV programs get paid a royalty for uses after the initial broadcast of a program - there's a set of rules negotiated by their union (Equity in the UK) that apply to all featured actors (ie not including extras), for their version of a streaming service, say Netflix, the actors each get their pro-rata'd share of a percentage of gross revenue from that sale so they're not paid on a per-stream basis either (though I accept that some musicians royalty statements will show them getting a per stream rate, it's generally not worked out like that which is why the rate looks like it changes on a monthly basis).

I'd take it as a good sign, at least he's doing something. Logo's are always useful once you get going so it'll be good to have one to hand on the off chance someone asks for one.

Yikes - this must be incredibly frustrating for you! Definitely more info on connected components & storage/transport methods needed but it's pretty fair to say all of the amps listed should be lasting longer than a year.

I agree with you on almost all points, other than: [quote name='spongebob' timestamp='1437063224' post='2823319'] Fair for the established artists? I've spent 30 years paying out a tenner a time for records, that on quite a few occasions, should have been used as landfill. At least now they're only getting paid for what I actually listen to. [/quote] Technically the really big artists will be getting some of your money even if you haven't listened to them. Whether that's fair or not I don't know but the thought of having to calculate the royalties actually earned per track is giving me a bit of a headache!

[quote name='ambient' timestamp='1437044405' post='2823036'] [url="https://en.wikipedia.org/wiki/Anil_Prasad"]https://en.wikipedia...iki/Anil_Prasad[/url] [/quote] [quote name='toneknob' timestamp='1437047425' post='2823087'] [url="http://www.innerviews.org/about.html"]http://www.innerviews.org/about.html[/url] - he's on facebook if you want to join in the debate there as well [/quote] As expected then, though I think I'll be giving facebook a miss. [quote name='KevB' timestamp='1437046799' post='2823072'] The way ticket prices have shot up over the last 10 years or so I'd say that is exactly what's going on. [/quote] You can say that again; I found a box of random old tat in my house the other day & it had my first Ozzfest ticket in it - £37.50. I vaguely remember thinking that was extortionate at the time though!

Who is Anil Prasad? Both articles read like they're written by someone that doesn't understand either the flow of finances through the music industry or general consumer spending habits. The streaming services are lead by the rights holders not the other way round as suggested - nothing happens without the rights holders consent & many of the things that do happen are directly requested by them (yes this includes the independents). Suggesting a huge monthly fee is sheer madness - streaming services came about as a way for the rights holders to monetise internet music consumption after years of fighting against it. They were originally seen as a way to ween people off illegal downloads, hoping that they would first stream then move on to purchasing downloads. The 9.99 a month premium generally came about from the thinking that people are willing to pay the same as 1 album per month. In the years that followed streaming services spent (and still are spending) millions of dollars trying to get listeners into the services - for every free trial you see given out for 1/3/6/12 months etc... the rights holders are getting paid, what the artists are getting paid obviously depends on contracts (as with the rest of the industry) some will be getting paid a decent amount, others won't with most somewhere in the middle. Though saying all that (now going slightly off topic), what I think is being missed is that recorded music sales is not the future earnings for musicians - those times are long gone. The money should be coming from performance & artist partnerships - in an age where everything is available instantly & often free a bigger premium should be being put on the magic of being in the room when music is being created, space is limited so cost can go up - recorded music is really just a marketing tool to get people interested.

I use the TC Polytune pedal - very good.

My band are playing The Dublin Castle on the first 1st of August, the other bands on the bill are sound pretty cool too so looking forward to a night of noisy music. Here's a poster & what the promoter has to say about it: [url="http://smg.photobucket.com/user/greeb0uk/media/VU%20gig%20poster_zpsgwqlzepr.jpg.html"][/url] [color=#000000][font=verdana][size=5][b][url="http://www.facebook.com/VersusUrsus"]Versus Ursus[/url] + [url="http://www.facebook.com/theharrymacintoshproject"]The Harry Macintosh Project[/url] + [url="https://www.bandpage.com/NewLoveEngine"]New Love Engine[/url] + [url="http://www.rathergood.com/"]7 Seconds Of Love[/url][/b][/size][/font][/color] [color=#000000][font=verdana][size=3][b]Versus Ursus-[/b]Stonking heavy alt rock veering towards metal with a pretty unique vocal, a bit Lydon-ish, a bit off the wall, does the sore throat growl, a wide eyed out of it punky yelp and generally rocks in a versatile manner…. Musically Metallica meets RATM.the singer’s on another planet. [b]The Harry Macintosh Project[/b]-Math rock via pronk with moments of Jazz and a general off-kilter bonkers vibe. Sounds like they dig the cardiacs, Beefheart and Slint with vocalson a Butthole Surfers via Bongwater tio. Compelling stuff, sounds like one of those mid-90’s avante-rock acts Trumans water, Hirameka Hi-Fi etc. new EP ‘Such Is The Vulture’s Love’ is due to be released through Zube Records on February 28th 2015 [b]New Love Engine-[/b]Dream pop with some lovely glacial guitar and a vocal reminiscent of Thom York. Nice use of light and shade the heavier moments remind of Mew the more reflective nod to Radiohead [b]7 Seconds of Love[/b] are an English ska/2 Tone band, fronted by musician and animator [b]Joel Veitch[/b]..back again after a bit of an hiatus…wonder if they’ll play “Soupy George” and peeps will still turn up wearing soup cans on their heads?![/size][/font][/color]

I can kind of understand it with shouty music as sometimes the throat just needs to be cleared but in general I absolutely hate spitting & have had a few "discussions" with people in the street about it before (usually ending in the inevitable calamity).

I had to stop reading that original article after the first paragraph, everything in it is simply not true. The streaming services are being pushed by the music companies (including indies) not technology firms, the royalties are actually quite simple if you have the slightest clue how the industry works (I think it's the tiny size of the payments that people can't seem to get their head around) & "times" in general aren't any more complicated for musicians than any other time; write songs, play songs. My thoughts on streaming services in general; I think they're doing everything they can - they're being bent over a barrel by the large rights holders financially & then blamed for the size of the artist payments. Sure, it'd be nice if musicians were getting paid more than they are but the money has to come from somewhere & the market has kind of stabilized at £10 a month for streaming. And for the record I'm a premium Spotify subscriber.

I've been enjoying the album; definitely some good tunes on there. I'm not sure how much longevity there is in the current sound but it's certainly fun summer listening.

[quote name='allighatt0r' timestamp='1434551503' post='2800702'] We did, for a short period. It was dreadful! It just encouraged huge amounts of mindless comments aimed to make people laugh, and took away from proper discussion. [/quote] People should have neg'ed them then shouldn't they! I've always found them useful but never mind... On thread; it seems the answers have already been given - One cab for smaller venues, volume down, EQ tweaked. I'd add don't drink too but that's not very rock n roll now is it!

[quote name='No lust in Jazz' timestamp='1434533443' post='2800446'] It went "Not very Punk" when the nuances of stage tone and higher end bass amp and cab combinations met early in the thread. [/quote] Ha - we really do need a reputation system on this forum. You can have a pre-emptive +1 from me.