TimR

I've not seen the hologram thing. I do feel a bit uneasy about tracks released after people's death of unheard/unreleased material. The latest Queen song and the Micheal Jackson song. They personally don't have any input to the final production and why didn't they release it in the first place? Was it not good enough or did they just run out of time? I think there is some Jimi Hendrix material recently found as well. So hologram wise it would depend on whether the artists would have been happy to use their recordings in this way. Wasn't there a Les Dawson show on recently. I don't think it should be billed as live and specifically a tour it shouldn't be exclusive like it would be if there was only one artist and command high prices as a result. The performance isn't going to be live and individual on each performance. Similar to a lot of artists who mime. I wouldn't go to watch an artist who mimes and wouldn't be happy if they did at a gig that was promoted as live. Anyway - some steam of conscience thoughts from me. Hope they're useful. .

But you're talking about a completely different standard and circle of players to someone answering an advert. The audition is all about the fit. Eventually you can make the audition ONLY about the fit by asking the right questions and getting demos. Questions like how long have you been playing, what gear do you own, what gigs have you done? What do expect to be paid? Send us a demo of your playing and a photo. A lot of people won't even get through that initial process. Then there's recommendations and having seen them play. .

I used to play charity events for a reduced fee. Until I did a gig that charged £50 a ticket and they made £10k in the charity auction. I figured our band fee didn't even touch the sides.

[quote name='TheRev' timestamp='1416835217' post='2614005'] But an audition is about much more than just being able to play the parts or liking the band's music, it's also about finding out whether the band like you as a person and can work with you and conversely, whether you can work with the band members. ... [/quote] I totally agree but once you've done a few auditions you learn what questions to ask early on and develop a 6th sense for these things. Phone calls and emails etc are all good indicators. It's not foolproof but can save a lot of time and heartache.

Depends how you ask. The problem stems from you having done the gig several times before with no question. You could have just said you'd had problems recently following another gig and just said as a result you're now asking to see accounts before you agree to any future charity gigs to protect everyone involved. It's his problem if he is offended.

I know from when I last auditioned, good bass players are rare. I know of three local bands who are using guitarists as bass players. The band I'm in, auditioned three guys before I came along and they had been dismissed fairly quickly. It's quite a tough job to find and audition new players so when one comes along and then, after all the work, decides they're not interested, it can be a pain. There are loads of obvious steps to take before the auditionee has even started to learn parts for the audition (on both sides) so if someone has actually turned up for the audition they, and you, must be reasonably happy that they're going to be considered/consider the band. People not communicating after the fact may seem rude but I'd say that a lot of musicians are flakey at best and this is just the way they behave. Unless they're actually rude to you, I wouldn't worry too much.

[quote name='Grangur' timestamp='1416819037' post='2613781'] Interesting one: I don't want to join a band and be hit with a bill to cover a repair on the PA, on day 1, for wear and tear from the last 10 years use. Isn't it better to simply agree that the owner of the PA (as there is inevitably a single owner; the guy who would keep it in the event that the band splits) should charge an agreed "rent" for the gear for each show. [/quote] That's what I always propose. Alternatively if the PA is funded by the band out of money we have earned as a band I just walk away in the end. I see it as a legitimate expense. I'm not interested in stumping up several hundred quid to get a PA for the band to start off.

[quote name='Count Bassy' timestamp='1416789235' post='2613674'] If you read the second paragraph of my second post I think you'll see that I have already covered that situation. [/quote] You've covered the situation where no music was being played. There are plenty of situations where people have lived next to pubs for years with no issues, but the music has got louder and the people leaving have got rowdier. Most people will put up with an acceptable level of noise. The proposal would take away someone's right to complain that the noise has become unacceptable.

This is a more realistic way forward. http://mobile.morningadvertiser.co.uk/General-News/Noise-law-changes-urged-to-save-live-music-pubs#.VHJUstkgGc0

So you could move next to a pub that does occasional light jazz on a Sunday lunchtime. The landlord changes and the new landlord decides to have mid week heavy rock bands playing until midnight? An extreme example maybe but bands are getting louder. It's all about what constitutes a nuisance. Good luck in trying to introduce a law that takes away people's rights. Think about unintended consequences. .

They're selling the whole warehouse by the sounds of it. The gear has to be picked up by date A. The racking by date B. The forklifts by date C. Anything not picked up by those dates will be forefitted.

I sometime wonder what the people who start these petitions are thinking. There's a big difference between a band in a pub and a stadium rock event. If bands are unable to recognise this then they're going to lose venues to play in. We play in a couple of venues where the landlord has had complaints and knows how loud we can play before causing a nuisance in neighbouring properties. Generally if bands refuse to turn down they're not asked back. Bands are getting louder and louder.

I would avoid fixing lights to speakers. Lights need to face across into the band. Speakers need to be positioned to face out to the audience while being out of the way. I had this argument with a drummer for many years as he kept saying we should fit the lights to the speakers to save on stage space. When I left the band I heard one of the first things he did was fix the lights to the speakers. They lasted one gig when he found. a. The lights didn't point in the right direction. b. The venue ceiling was too low to have the speakers at ear level with enough space on top for the lights. We have 4led pars and two TBars. In the old band we had a DMX programmable mixer but we did functions. In my current band I just let them do their own thing. .

No Basschatters in Merseyside to give you a hand?

Those box things were fairly standard in the late 90s. Don't know if they still are. I'm guessing fader style mixers are cheaper now. Peavey, yamaha, phonic, behringer etc. All did pretty much the same thing.

Probably something in your subconscious links the sound of the guitar to a song you've heard or a style of music. Something similar happens to me if I plug my bass into a multi FX unit and run through the different FX.

[quote name='gadgie' timestamp='1416487983' post='2610709'] We have an old PV copy powered mixer...(a "pod" or something) ... [/quote] Phonic Powerpod.

Check you're in tune with the guitarist Does it wobble when you play on your own? Move the cab so its back is flat against the wall and if possible in a corner. .

I had the same thing with a guitarist using a flanger on a band I was running the PA for.

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Parametric EQ is a difficult beast to master. Set all level dials to their '0' position ie no cut or boost. Then set one to full cut and while letting a note ring, slowly sweep It's frequency dial from low to high. Then repeat with full boost. Then set the cut/boost back to '0'. Repeat with all four frequency ranges. At the end of the process you should have a good idea of what each frequency range sounds like. You can use eq for two reasons. Cut problem frequencies in certain environments Shape the sound. Don't get the two confused. Try not to cut or boost any frequency by more than 3-6dB. Hope I'm not teaching you to suck eggs.

There are some English guys at the musicplayer.com keys section.

[quote name='Adrenochrome' timestamp='1416408332' post='2609890'] I'm sure the pros are. For us pub players we barely break even when all costs are taken into account. [/quote] That's exactly my point. If your costs are £50 and you're getting paid £50 that £50 is actually closer to £80 as that's how much you would have to earn before tax in your day job to get £50 cash in your pocket.

Not many businesses own their properties. Most rent. Businesses don't last 25 years+. Pubs may have several different landlords over the years. The change of use is relatively easy to get. All you have to do is show that the pub has been on the market for a couple of years with no takers. Immediate neighbours will usually be for a change of use so the planning doesn't get much resistance.

The pubcos own the pubs. So unless the landlord can afford to buy the pub (very unlikely), the pub will be sold off for flats or housing.