TimR

Yes. Practice is what individuals do at home to get an idea how the song goes, chord progressions, bass lines, important riffs, basic structure. Then rehearsal is when you find out that none of it works and has to be rearranged to suit the band. Then you go away and practice the new parts to the new arrangement. What you don't do is use rehearsal time to complain to each other that you're not all playing what's on the record. 😁

Our singer has managed to get us on their system and it looks like we might actually get paid for the gig we did in August 2021. Although I suspect it'll be in the last financial year or something else will stall it now. 😁

It's the same the world over. Clients who are a nightmare get charged more for your services, and if they decide you're too expensive and go somewhere else it makes your life easier. Otherwise they can pay a premium for the luxury of being awkward.

Yes. Going through this at the moment. Fairly new female singer. Guitarist thought she be great as a rock front lady and tried to get her to sing songs from when he was a teenager, about 5 years before she was born. We've eventually steered him round to what she knows and likes. Sometimes for things to work, everyone has to change what they want to do. And I think the band is much better for it.

Practice is cheating.

One of each and an imperial one.

She needed a different app. Simpler the better. Plenty out there.

Something went terribly badly in that first song. May played some really duff notes and then started scowling around the stage. Again. Autoprompt hidden in the stage isn't visible to the audience.

There's a very long thread about this somewhere. Depends entirely on your show. If people have come to see a band, they don't want to be faced by a wall of music folders with musicians hiding behind them. If they've gone to listen to a band and/or watch the singer, it doesn't really matter what the musicians are doing. With the advent of small Ipads, that problem is mostly resolved now. The use of an ipad/tablet for reference is fine but if you're putting on a show you shouldn't be hiding behind it and anchored to the spot. You might as well be staring at your shoes or frets.

Doug Helvering. Worth a follow. A lot of 70s musicians would have grown up listening to Jazz. It would have been played everywhere.

That would make sense too. My first amp was 120W combo lent to me but regularly being used for a function band in the 70s. 300w+ amps didn't seem to be readily available. The SVT was 300w but an outlier and required an 8x10" cabinet. So I'm really thinking the bottom end wouldn't have been there in any strength for a rock band without really distorting.

Watching Queen: Live at the Rainbow on Sky Arts - it'll be repeated... John Deacon doesn't appear to drop below 7th fret very often. And he's a lunatic, all over the stage and his body is bopping to 8ths for the most of it. What a player. He's definitely one of my early influences. Now left wondering if 70s sound systems couldn't do the bottom end with any power, or whether something else is going on.

You have to entertain the audience. That's the primary purpose of playing music to an audience. Just have to make sure you have the right band for the right audience. If the audience want me to play Sweet Caroline, I don't have to like it, but if it's what they want, who am I to argue. I'm not going to be listening to it on my way home. I probably wouldn't even listen to it more than once to learn it. 😁 We have songs in our setlist we don't rehearse. If we haven't gigged for a while we run through the list and ask who needs to rehearse each tune. Mostly those tunes get a quick shake of the head and everyone looks at the floor. That speaks volumes to me. But come the gig, the place is jumping and we all have smiles on our faces. When that happens I'm not entirely sure the songs we play are what makes us happy.

It's all about phrasing. The only person not treating them as 4 bar phrases, is the only person getting lost.

That's not quite the same. It affects how you rehearse together. It's difficult to explain. In this example B^ are accented phrases of B. And you're trying to get the band to accent those phrases together. ||:A...|A...|A...|B... :|| |B^...|B...|B^...|B...| |B^...|B...|C...|C...| Is not |A...|A...|A...|B...| |A...|A...|A....| |B...|B^...|B...|B^...|B...|B^...|B...| |C...|C...| Especialy when the person counting in the second example is consistently getting it wrong.

It leads to confusion when communicating with other players. In the same way as calling a G# when the song is in Eb.

Add to annoyances on this theme, people who have no musical training and are unable to count bars or understand two and four bar phrases. Trying to explain to someone last week that they're playing a 4 bar phrase twice and just because the last bar of that repeated phrase contains the same run that the following 6 bars contain, doesn't mean it's a 3 bar phrase followed by 7 bars of a repeated phrase. Arghhh.

Sweet Caroline.

You'd need the right adaptor. There are a load of power banks around that will supply multiple voltages. You can also charge some of them while you're using them. But if you charge the powerbank before your gig it's another mains supply you don't need to run anywhere. USB C stuck in my mind because it can supply different voltages unlike USB A, but it's the power bank application I was thinking of.

A very old thread. Things have rapidly moved on in the world in the last 7 years. Have a look at USB C power supplies.

She did it deliberately.

Double post.

If you're under 50 years old the Beatles wouldn't have had a hit in your lifetime. Paul McCartney is 80 next month. My parents weren't ever into them and we never had any albums in the house. My knowledge of Beatles tunes is limited to the hits.

Yes. A single DI would simplify everything and all he has to do is sort out front of house sound. I'd probably 'agree with him', he doesn't know how you want the two signals blended to create the sound you have imagined, the single DI removes the guesswork on his part. If I'm operating a desk, there's enough to worry about getting the band to sound cohesive, and providing IEM and foldback mixes, without trying to work out how an individual musician wants their FOH mix to sound.