TimR

I was thinking about this the other day. When you're surrounded by millionaires you don't really want to be staying in the budget hotel and living in a condo. Doesn't really look good.

Yes. Kick and Bass guitar occupy similar ranges. The point to remember is live and recording are different animals. In the live situation your bass guitar will bleed into the kick mic. And it depends greatly on how well your drummer has tuned his drum. Experimentation is key, but not at a gig sound check when everyone wants to get on. Might be worth setting aside a rehearsal purely to get technical issues sorted out.

Metallica now only use a PA and drum kit. All the amps are for show as they use AmpSimms.

Senheiser are pretty good directional mics. Usually the hpf is around 80hz, so wouldn't want to cut bass guitar, but the bass drum can benefit from high pass as the thump is around 120hz. But it's the vocal mic you need to be able to boost and if that's picking up bass from the guitar and drums that won't be helping. The more low you EQ in for her voice, the more of the low bleed you'll get. So the HPF will be below her voice but above the rumble from drums and bass. I hpf everything apart from bass guitar.

As I say. You now get a valuation on the gear. Probably worth at least 20% less than you paid for it (£2400). And the remaining 4 members pay the guitarist £120 each. £2400/5 is £480. Which is his share. Unless they're reasonable guys and use the original purchase price. Whatever the arrangement is with the new guitarist is irrelevant. The 'band' doesn't now own the PA, 4/5ths of the band do.

Let's hope he isn't expecting his full £600 back... Unless you've not bought the gear yet.

It also depends if this problem is in all venues or just a few or even just in the rehearsal space as either room acoustics or the placement of other instruments can impact. We had a gig last Sunday where we had a nightmare with feedback. Nothing we did seemed to get around it. I do have a feedback destroyer that I used in a previous band and found it to be quite good, but the manual is a complicated read and can't remember if the 'Auto' selection is just a simple set and forget thing.

If you have a low cut button on your PA make sure it is in. Then you can boost using the low frequency EQ without introducing rumble from the bass and drums. Also check whether she is using a cardoid or a hypercardoid microphone as monitor speaker placement will be different. Hypercardoid will pick up feedback directly infront of her so the monitor speaker needs to be to her side.

That'll be the Porsche key.

It's a tune I have played more times than I care to mention but it does get the reaction and it's an easy win.

"Play something you know!"

I'm not arguing. I just don't see the point of splitting up a system and then having hassle later buying bits when someone leaves. What happens if you get a dep in? Do you then have to hire the missing part from the person not playing? I've seen this happen before. I had a friend with a pair of speakers in his house for years. Couldn't sell them and couldn't use them.

Has the rest of the band agreed this? Your expectation may not match reality. The guitarist owns the PA we use, I don't expect to be paying to fix it if any of it requires repair unless I'm personally responsible for breaking it.

Precisely because if this situation occurs the remaining members are left having to find a brand new bit of kit as well as a new band member. Great for the person jumping ship. Not great for those left behind. So a document is designed to protect everyone. And the bits don't all cost the same. Eg look at bass gear: a trace elliot Elf amp is £230 and a 2x8" is £400.

Depends if its a vocal PA or a 1kW rig. As I say, it's a sunk cost. All pay in and buy it joint and just get an agreement to get it valued I'd anyone leaves and buy them out. The problem only arises if you spent £1k on a PA for a 5 piece and 2 years later someone wants their £200 back when really its only worth £300 at most. Which is then only a few quid to find from the remaining members.

That's handy because the person leaving will have exactly the missing part you need. So no need to go messing around looking and waiting. Of course you just have to negotiate a price... 😆 Makes no sense to me. Buy the PA and worry about buying pepeople share out when they leave, no need to assign people with owning parts of the PA. Who owns all the special cables? That's really going to screw things up when your drummer disappears in a bad mood and takes his cables with him...

If one member leaves and takes one of the speakers... or the mixer... The PA will no longer work.

Don't forget someone will have to be responsible for looking after it and running repairs, new cables, replacement mics will all cost.

I own a PA. I got fed up in my 30s with all the moaning and worries about who pays for what. I then 'hired' the PA to the band for high paying gigs. I don't think it ever paid for itself and it never settled the arguments as 'the band must have paid for it by now and should be getting it for free' started in the end (in hindsight and now I'm older I realise they stemmed form the drummers control of the band more than anything PA related). Then I bought lights. And they still complained. 😆 He is in another band and owns his own lights and PA and has learned what a pain being the one looking after it all is. And us presumably 'charging' the band for its use.

It's a sunk cost. I'd suggest you include something like an independent valuation when a member leaves. And then the remaining 4 members of the band then pay him 1/4 of 1/5 of what it's worth and so on. So 1/4 of 1/5 when 1st leaves (4 original members left) 1/3 of 1/4 when 2nd leaves (3 original members left) 1/2 of 1/3 when 3rd leaves (2 original members left) Split when last original leaves. If at any point the new member is happy to pay the share it's all good. If the band completely folds the PA gets sold (either to a 3rd party, or a present memeber) and the money split equally. You should work out what happens if the remaining members of the band can't afford to pay for the fraction of the leaving member outright. Like pay back the money gradually over an agreed timescale. You must agree at the outset to have an independent valuation, and everyone needs to be aware the gear depreciates and they're getting benefit of its use in return. Members can't expect to get their original money back. Splitting a PA into 5 chunks makes it worthless to all 5 of you.

I thought of doing this at a few places we have played. There's always a big TV somewhere and more and more of them have USB ports that you can plug a memory stick in. Either a single jpg or a looping video, sideshow etc.

Knowing your chord progressions! Sounds like fun, and if you manage it looking confident and with no drama he may call you again.

Try some Bass Centre Stadium Elites.

I struggled with this at our last gig. I wear contacts and have found that reading has become a real pain with them in. I recently tried verifical contacts which worked initially but now don't seem to for some reason. I can read well without contacts in but my distance vision is rubbish. So still playing around with what works best but currently sticking with contacts and having music as far away as possible while still being able to read.

A lot of Black Sabbath is very difficult to play as Ozzy does not sing on the beat, also the bass is pushing the beat, not sitting on top of the drums. You may be complicating it further by trying to do a 'Punķy' version. Ultimately straight 8ths are the bread and butter of rock bass players. Get out the metronome and work on them.