crez5150

Indeed it's not about how good the band are...... for function and corporate, it's the way they conduct the service they provide. Big difference

[quote name='lowdown' timestamp='1334580843' post='1617923'] Indeed.......... Some covers bands can end up at a very high standard, as can an original band of course. I have seen one particular covers outfit a few times. They play songs that were written donkeys years ago, the venue is always full, lots of merchandise,CD'd/DVD's, always have a good sound and can be loud - they have great management. The don't seem to make a lot of eye contact with the punters, and quite often the band leader has his back to the audience. They seem to attract a lot of the female gender to the gig as well. I do know one Musician in the their set up, and he is very happy with the Euro's he gets paid. They are called the Berlin[er] Philharmonic. Some people go to listen to [what they feel] is good music - others just go to have a good time regardless of the band, but like the venue. The OP's venue might just be the later type of venue. Garry [/quote] meh..... you tease

[quote name='BigRedX' timestamp='1334578995' post='1617870'] Any originals band that is really serious about what they do will find ways to overcome these "obstacles". Those that can't simply haven't woken up to the fact that just being ab;le to play an instrument in a band with some decent songs isn't actually anywhere near enough. [/quote] Very much this..... One of the reasons the original band I was in stopped was because we simply didn't allocate enough time to doing the legwork, sorting out PR.... forgetting about merchandising..... we concentrated on playing too much. Fail

[quote name='charic' timestamp='1334563544' post='1617496'] You might want to leave "Jazz" out of it too [/quote] We did think that as we do not play any Jazz at all.....

[quote name='charic' timestamp='1334562052' post='1617475'] That's true, moral? Don't tell them you're a duo when doing the booking [/quote] I like your style..... I'm putting together a set for a new duo at the moment. We are going to call ourselves 'The Herrington Jazz Trio' and charge a premium....

[quote name='charic' timestamp='1334561089' post='1617463'] The number of people in a band have no impact on what the band should be paid unfortunately. They're paying per show rather than per person [/quote] Yes indeed but most pubs IME won't pay the same for a duo as they do for a band.....

[quote name='gjones' timestamp='1334503439' post='1616905'] I friend of mine was quoted £1,000 for an acoustic duo to play at her wedding - and amazingly she was prepared to pay it!!! In the end her fiance, who was having to stump up the money, put his foot down and booked a 5 piece covers band for a lot less than a grand. Having played in duos and trios it really does depend on the occasion and the venue (and how good you are). Anything from £150 to £300 would be the going rate. But if it's a wedding or a corporate event the skys the limit. [/quote] Very much this..... Corporate and weddings are a premium area but it's a different gig

There is no answer really to this..... it's what you feel you want to charge.

[quote name='51m0n' timestamp='1334440509' post='1616334'] No I said this:- And I said it for a very very good reason. I've heard the result of Kit's voice being recorded with an AKG C414, a classic high quality large condensor mic, and its very very strident in the upper mids, far too much. I had to do an awful lot of vaery careful work on her voice to make it sound big and natural and not so peaky. This was as a result of the mismatch of the mic used to record her voice, it simply isnt suited to that kind of mic. One of my first comments to Kit about this was that I would love to hear her voice captured with a quality ribbon mic, or a really good dynamic, both would help in this area. As would a pucker tube mic possibly, but I've never used one on a female vocalist so I'm not sure 100%. Her response was that the best her voice has ever sounded on a recording was when it was tracked with a ribbon - so I know I'm not making this up to justify something, its a happy accident IMO. An sm58 is not often considered a great vocal mic for the studio these days, but you would be amazed at how many great vocals are made with its close cousin the SM7, (closer to an SM57 as it goes, but still in that ballpark). How about that little known album Thriller by some wannabe Michael Jackson? It is absolutely possible that an SM58 bcould sound better on certain voices than an LDC. Not always, but sometimes, and Kit actually happens to have a voice where that is the case IMO. Marti Pello of Wet Wet Wet fame liked the sound of a Sennheiser e845 on his voice, more than any fancy LDC that he had at his disposal. Its not b0110cks, its a fact, if you knew much at all about tracking you would have stopped to think about that possibility before making that comment., I'm done here, bye. [/quote] Great post..... I think Dynamics for vocal tracking are often under used in studios these days.... I remember when working for Beyerdynamic years ago that Phil Collins would predominantly use an M88 for vocals ins the Studio and Live as he believed that it gave him 'His' sound..... apart from being a fantastic microphone anyway he was probably right. I use a cheap and cheerful AKD D380 when I sing live as it suits my vocal tone very well.

[quote name='Johnston' timestamp='1334407011' post='1615779'] I posted the andertons review a few pages back [/quote] I missed that......

Heard good things about these....... http://kemper-amps.com/page/render/lang/en/p/184/do/Kemper_Profiling_Amplifier___KPA___Guitar_Amplification_Redefined.html

[quote name='lowdown' timestamp='1334236884' post='1612998'] And when you say limited instruments - you mean the Bass Gtr ? Garry [/quote] Indeed!

'Can't buy me love' I'd opt for..... always get's people up and dancing and can be played with limited instruments

[quote name='crez5150' timestamp='1331989477' post='1581779'] Be careful with this...... it's only the Neutrik [b]NLJ2MD-V [/b]that allows you to do this. Most manufacturers do no use this as standard as it's an expensive socket. You could end up with a jack plug stuck in a Speakon socket if you are not careful [/quote] [quote name='neepheid' timestamp='1332021436' post='1582331'] No danger with this, the hole in the middle is too small to even think about accommodating a 1/4" jack [/quote] You say that but you wouldn't believe the amount of Speakon sockets I've seen that people have tried to push a jack in..... It can happen easily to those that do not know what a Speakon socket is for

I found this interesting version featuring Jordan Rudess on an iPad while recently searching for Moves like Jagger - http://www.youtube.com/watch?v=jgXfRGLTdyg&feature=youtube_gdata_player

[quote name='Cairobill' timestamp='1333578223' post='1603945'] But some is utterly, utterly sheatt [media]http://www.youtube.com/watch?v=J-kajkjGKuk[/media] [/quote] What a cock!

[quote name='norvegicusbass' timestamp='1333557124' post='1603548'] I sort of blame Mark King for the thousand notes an hour kind of playing [/quote] So many people say this..... but as stated above..... it's something he's done at gigs as a showpiece.... have a listen to any of the Level 42 albums and it's not there at all...

RMS, AES are the more truthful options..... Continuous at a push.... Everything else is FAIL!

Yeah..... I had a pass to go see them but couldn't make it.... I'm gutted!

I love em..... Pete is a top guy too....

Bought a Vintage 4+1 for £200..... better than any Fender I've tried

Always try more input gain..... majority of synth pedals suffer from this

I thought this was going to be some kind of Porno bass hero flick