TimR

[quote name='ahpook' timestamp='1443517409' post='2875364'] Well, this is where we differ - my only reason for making music is to create good music and enjoy playing it, the financial side has always been a fairly minor consideration. In this case, finding people with a similar musical directions is important. But as I said in my earlier post in this thread, it's an outlook that not all on this forum share...no bother.... Each to their own, I say ! [/quote] So if you can't find people who share your tastes, you don't play?

[quote name='blue' timestamp='1443487110' post='2875234'] Then I might ask, what happened, why is it no longer enjoyable? Blue [/quote] I don't think there's one single reason. I'm finding as I get older, the musicians in my age group become very narrow minded about what they will and won't play, which type of venues they want to play, how much they want to get paid, how many times a month they'll play. They get pretty much set in their ways. That's one thing (or many) that annoy me. Another is a lack of imagination where they won't do any tune where the original cannot be exactly reproduced. Working in a band requires teamwork with strong leadership. If you're set in your ways and refuse to compromise for the good of a team then you'll never find a band. I think if you're a true musician you will continue to develop and be inspired over your whole life. The people who give up are just players of instruments.

No. We're just discussing a song. It's only a song. But the guy will make millions for it.

[quote name='lowdown' timestamp='1443255831' post='2873416'] David Arnold scores moved the Bond scores on, I wouldn't say they were better than the John Barry scores. The Barry scores were right for the time era, same as the Arnold music. Both brilliant (IMO of course). Small bit of trivia - This will be the first Bond film without Derek Watkins (RIP) on Trumpet. I think he was 17/18 when he recorded 'Dr.No'. A mix of both here. (Check out the Piano clam on beat one at 00:08 ) [size=2][/size] [/quote] I agree. I think the 90s was when I went from just playing music to fully appreciating how tunes were constructed. So maybe I was being a bit biased. But I think the David Arnold arrangements are so much more intricate. Maybe music has progressed that way. Up to this Sam Smith effort anyway. Will be interesting to hear how the rest of the score holds up.

The David Arnold films definitely have the best soundtracks. With the The Propellorheads he really bought something modern to them.

[quote name='bassace' timestamp='1443172791' post='2872758'] He's tried to write something atmospheric and in the process it's become tuneless and formless. Won't be remembered as one of the good ones. IMO, of course. [/quote] I'm confused. I thought it was going to be Radiohead playing a song written by Dave Grohl and sung by Ellie Goulding.

My wife has a Bay City Rollers scarf.

[quote name='EssentialTension' timestamp='1443129110' post='2872577'] I'm guessing McCartney's actual 'the' Hofner would fetch at least twenty times as much ... and maybe more. [/quote] Thinking about it it does seem a ridiculously low figure when $300m was paid for the most expensive painting.

[quote name='Happy Jack' timestamp='1443099634' post='2872197'] ... And Macca did NOT auction his 1963 500/1. He still has it, still gigs it. [/quote] That's what I suspected as he auctioned another one for £15k Colectors are a strange bunch.

Paul McCartney auctioned a signed left handed hofner bass for £40k. I don't know if it was 'the' hofner though.

That's a lot of money. I'd be surprised if it went for that much. The signed lyrics could be worth something. It's usually guitar players who are the millionaires.

It depends what is meant by tripping. If the cooling fan or heatsink is obstructed by fluff and spiders webs, as mine was, application of the Hoover saves quite a few quid. Earlier suggestions that there are no mechanical parts to service are slightly misleading. Loose connections are sometimes obvious as well.

If we're going to be compeltly pedantic; the Scots are British and the Canadians are North Americans.

[quote name='tauzero' timestamp='1443009462' post='2871369'] Good grief, so you issue Canadian passports too? Is there no end to your authority? [/quote] Sorry. I thought you wanted to know why he had a .ca web address and might be interested in the geography and people of that area. My mistake.

[quote name='yorks5stringer' timestamp='1442935847' post='2870742'] This thread is the "gift that keeps on giving". Think I'll come back in a month and see if its still going around in circles! [/quote] It's just another great example of how you can generate huge discussion by making a sweeping generalisation about, and to, a group of people.

[quote name='tauzero' timestamp='1442994176' post='2871154'] With a .ca domain? That doesn't stand for "California". [/quote] He is in Ontario. Just South of Detroit. He may technically live in Canada and may have a slight Canadian accent but there's no way he is a proper Canadian. I've worked in Michagan and Ontario and met a lot of people who live in that area. .

I'm guessing pub gigs might be closer to coffee shop gigs.

[quote name='blue' timestamp='1442939046' post='2870785'] Where did you get that figure from? LOL I'm not rich but 60.00 a week is not even close to what I make. Again, it's not a lot, I think it's a round 12K a year.Which I believe is well over the top range for bar bands. And remember we paid at a much higher rate during festival and fair season. Keep in mind I'm retired and single so the claims I can make would be tough for those still in their prime working years For me, definitely worth it. If you asked me to swap it for a 60k corporate office job I'd say, " I'll pass ". Blue [/quote] Ok. From earlier where you said $100 a man minimum. But I see you're doing 3gigs a week and some gigs playing $500. That's professional level gigging. Certainly not pub band territory. As we noted earlier over here you'd be a working mans club / party / function band. The working men's clubs are close to 3+ hours. That's not entry level startup band territory. Although if you have musicians who've played in bands before, like JTUK says, it could be a band put together. But then you'd be using people who haven't given up. Strange thread.

[quote name='Dropzone' timestamp='1442934844' post='2870719'] Gonna buy some switch cleaner. That must be a good start. Anyone know if you have to take the nobs off? [/quote] Nope. Just open the case and spray them from the inside.

[quote name='blue' timestamp='1442934066' post='2870700'] Well, I think we have established the bar band business in the states is more lucrative than the pub band business in the States. I think you really have to understand that none of this happens over night. Another thing if you truly don't treat your band like a job and run it like a business your traveling down a rough road. It takes time for a business to grow and your brand to get known. While my band's bread and butter is with repeat or existing business it took 9 years for our phones to start ringing than the other way around. A lot of people wouldn't put 9 years into a bar band. In our case it paid off. Blue [/quote] So there you have it. 9 years of work to earn £60 a week. Well worth it.

[quote name='Beer of the Bass' timestamp='1442929216' post='2870627'] Yeah, possibly. I actually agree with a lot of what he says, and there are times when adopting that kind of attitude can be the most effective way of getting your point across. I'm just not quite picking up on any warmth underneath the bluster though - maybe it's just not my type of humour. [/quote] He's American. The thing about satire is on the surface the generalisations and stereotypes work and hence are funny. Bass players aren't stupid though. Some of us can type. So that's the first of his 'jokes' blown clear out of the water.

[quote name='blue' timestamp='1442932591' post='2870676'] While it's hard, it also means bands trying to make money should be trying to get their foot in many doors. Blue [/quote] Well of course but you asked why people give up. If you have to make 20calls to one person just to get one gig. To fill your diary you'll have to make 1000 calls to the successful gigs and that quickly escalates when you start counting calls to venues where you don't get gigs. I'm with JTUK. You select a decent local pub that does music well and has a good landlord and you target it. The nights you play, you make sure all your friends come. Yet again success in life is about how many friends you make. Friends bring friends and they come back within more friends if you're good. . From there the function gigs should start rolling in. I'm not sure there's a lot of mileage just doing pub gigs in the UK unless you only want to play occasionally in a hobby band. Which is kind of making the thread a bit circular again. .

Which is why it can be hard to get your foot in the door.

The clubs were done via and agent, which meant we got decent pay, but there was no raport with the final customer. We just got told where to stand and when to play. The audience were good but being treated like 'staff' wasn't part of the deal.

I was talking to our band leader last night about how he gets the pub gigs. He says you have to call them around 20times before they'll put you in the diary. Generally not because they don't want you to play, but because when he calls it's not convenient. It's no suprise that pubs go under, good landlords with a business head are very hard to find. In a number of the pubs we play, we never meet the landlord. The ones we do, we get a date for our next gig at the end of the night. This is why it appears that the circuit is closed to new bands. I can see how this would get tiring. Being told by punters and bar staff that you're one of the best bands they've seen and then not being able to convert that into more gigs is frustrating.