TimR

https://en.m.wikipedia.org/wiki/Electrical_characteristics_of_dynamic_loudspeakers

Some odd conclusions being drawn here. The nominal impedance of a speaker is just the lowest resistance. At its resonant frequency it will have max impedance. In practice speakers are receiving complex AC waveforms and their actual impedance seen by the amplifier will be tens of ohms. The wire that a speaker is made from is extremely thin, and will burn out well before any connectors or 1.5mm² flex will. And that will be for a different reason. For long runs you should be using powered speakers, not running tens of metres of twin flex.

You guys clearly haven't watched Final Destination... 😆

The point is; the gates to the neutral and live will now remain open when you remove the transformer, until you remove the pencil. The original 'earth' pin would have been plastic and only there to open the gates. You could then drop all sorts of metallic objects into the socket by accident. Or if your fingers are small enough they could be pushed in. Only needs for the transformer to be doslodged while you change a string, when one end of the string just happens to flick into the live, and you have the ideal recipie for a scene from Final Destination, or The Omen. 😆

I had to read this twice. Don't use Instrument leads for your speakers or Speaker leads for your guitar. They are not interchangeable, you can't use them for 'double duty'. AND if your speakers are powered, don't use speaker leads between your mixer and the speakers. Use 2 core twisted sheilded pair with XLR or TRS jacks.

I can't work out if you're being serious or not. 😆 Just in case you are: Kids, don't do this!

One of the things is I do when I dep is ask for a dress code. I don't want to be the bass player in the wrong band. I have 2 basses, I won't be hiring or buying one for a dep gig, I'm happy to borrow the bands regular bass player's bass if it's that important, but I've never done a Tribute band so it's never come up.

These are wise word. We have had issues where the guitarist went down quite hard when he shifted weight to reach his pedals. If you have a vocalist who moves around a lot or jumps up and down, that's another potential disaster. If it's a raised stage you have potential to fall quite a long way. Plus playing to reduced size crowd because they all stayed at home, huddled under trees in the corners of the feild or are hiding under umbrellas, isn't fun.

Depends if its a one-off dep, or someone who is "second call" who does gigs when your main player can't play. There are plenty of musicians who are strictly too good to be playing regularly in amateur bands but are happy to stand in on occasion. I've done plenty of dep gigs at short notice. If it's get a dep in or cancel the gig, you have to weigh up the risk of another band getting their foot in the door and nicking potential gigs down the pipeline, and putting on a show that might not be to your standard but the punters won't realise.

We are human beings. Talk. Face to face.

What kind of generator is being supplied? Often they don't get earthed, but they should be. The signal and safety earth should be the same thing as the amps will use the normal earth.

If your main mixer has a spare aux out, you can mic everything and send yourself a dedicated sub mix. Those mics don't need to go to the front of house mix. If you don't have a spare AUX and your mixer has inserts there is a way of 'normalling' the output by using a mono jack and not pushing it all the way in (just to the first click) to give a send to another mixer without interrupting the signal path inside the first mixer, and dispensing with the need to have a return.

I recently got a message from the leader of one band that I was kind of in. Basically standing in until they found a permanent bass player. With date and details of a gig he'd booked us for. It confuses me how some of these people ever got organised enough to learn how to play an instrument.

What came first? Have they drifted off to other bands, or were they in other bands and your band is an extra or a side project? If it's the first, then you have to ask them what is it you're not providing for them to be looking for extra. If it's the second, what did you promise them, and are you delivering that? What do you mean by thrive? How many gigs are you planning? Have you booked those gigs? In my experience, I lose a huge amount of interest if the band leader is waiting for the band to be gig ready, and waiting, and waiting... And probably a failing on my part, I'm not going to be putting loads of effort into a band that has no gigs on the horizon.

I have been in 3 bands several times. However, it is down to the individual to recognise if they have time to commit equally to all the bands. In my case the bands didn't each rehearse each week and gigs were few and far between in each of them. Which was what led me to find another band/accept an offer. Plus I would do dep gigs. So if these members are too busy to play in your band due to the workload from the other bands, then they really need to have a conversation as to whether they really do have time to be in multiple bands. Were they in your band first? ie is it lack of gigs that's made them look elsewhere. Did they join your band because you offered them gigs? OR do they just want to turn up and practice the tunes at rehearsals and are not that keen of gigging. If you're getting frustrated then speak to each one separately away from rehearsal and ask them what are they expecting from the band. Find out if you are aligned. If not, start auditioning new members and make it very clear what you're trying to achieve with the band, and what levels of commitment you want, how often you want to gig, rehearse and that you expect people to have *bare-boned the songs before coming to rehearsals. *Don't expect people to learn tunes at home and for the tunes to work straight away. Rehearsals are to iron out the arrangements.