JTUK

Before the internet became a way to 'expose' an artist, they may have negotiated a straight fee for delivering a record for sale in a given region. These small indie labels could afford a few thousand for the rights to sell in their own country and maybe a few others... That way, the artist, bankrolled the record with a loan from the bank, kept the royalties from song writing and paid the studio musicians. When the tours came round, the same band would be offered the tour for set nightly fees. The tours wouldn't be luxurious but you make the same sort of money per night of a decent function band so a 10 day tour, for example, could 'pay' quite well. You'd then go back out and do another couple of countries the next month. I'd say that sort of level was much easier today... The artist still needs to be viable though and be able to sell out smaller venues.

[quote name='Cosmo Valdemar' timestamp='1451934195' post='2944786'] I don't think it sounds like JE at all, in tone or style. [/quote] Yep, can't see that at all... and I'm not a fan but style and definitly tone..(or not ) are nowhere near, IMO. Grindey..I'll give it that.

Mostly rehearsal's are so hard to arrange - and everyone knows that - so everyone accpets they are required. No one wastes anyones time arranging something that is not considered essential, Rehearsal are a PITA that sometimes need to be done..so you do them as you understand this. I'm not sure some of the examples are serious, albeit funny, but I'd lose my sense of humour being jerked around like that... and that person wouldn't get asked/be required again. I recently travelled almost an hour to a rehearsal/audition and the guy said get there early as I'm making chilli... Now that was appreciated as travelled straight from work, but once the chilli was served after about 5-6 songs or so, we sat around talking and drinking wine. Now this was quite a good bonding session in itself, but for me, there is work to be done so I wasn't in a hurry to spend a night doing that on a regular basis. If rehearsal is required and scheduled, make it work so you don't have to do it again.

RCF 710's plus as good a mixer as you can get with the balance of about £250. Soundcraft or something similar

[quote name='phil.c60' timestamp='1451847091' post='2943998'] Lucky You. I squeeze in whenever I need to and to avoid my ears ringing from my (not overly loud) drummer's cymbals/snare I always wear my ACS pros. And as for that meaning I turn up too loud: you are setting the relative volume. You turn up till it sounds about right, Having said that, we do a short sound check and I don't put them in but I wear them throughout the gig. and we are not a loud band. As for "some pubs are too small for a live band" are you serious? What are you, a symphony orchestra? If they want us, they can have us! [/quote] Yep, I'm serious... some pubs are too small to have live music. Personally, I wont play them as it just doesn't work, moneywise or as a gig I'd look forward to doing. Most players I know will say the same thing. But I've always ben convinced that doing away with the license was a bad thing all round. Some of the reasons I've mentioned above

[quote name='PaulWarning' timestamp='1451845179' post='2943965'] then we wouldn't have hardly anywhere to gig, plus it's a lot more fun playing to a crowded small room than a half empty big one [/quote] Too many pubs and bands doing music anyway...which is what keeps the price down. The market is saturated and I've always said doing away with the license was a short sighted move.. There is no premium for it... when music is so cheap and plentiful.

ACS has fitting centres all over...they are decent at around £160 a set. It is money for old rope tho...as the moulds are easy to make... or cheap..and the attentuators/filters must also be dirt cheap. You're paying for a 'specialist' ear mould fitter tho..?? :lol:

Only one of those is remotely reasonable.... I'd kick them out if they came out with crap like that..

Some pubs are too small for music... and bands should accept that and so should the pub itself. I'd say something like 50mtr2 is a minimum..for the room, not including bar...so they either shouldn't get a license...(which is a good reason for having them back, IMO) and they can't really afford bands anyway..in any sense..!!

Not missing anything.... quite a chummy uninspired set of choices so far...IMO.

[quote name='Paul S' timestamp='1451838044' post='2943852'] To be fair, bar staff aren't standing next to the snare drum. At least, not at any of the gigs I play. [/quote] Neither am I... I refuse to squeeze in next to the drums with a cymbal in my ear... But just iike there may be retrospective claims in the workplace...I can see someone (staff) sueing the pub for hearing loss at some point.

Bump...

filth...

Plugs are fine but the bar staff aren't wearing them and neither are most of the audience. Pretty soon, IMO, legislation will come where noise levels are regulated. The pub is a working place so I can see a time when employees are protected. If someone is using plugs and they don't know how loud they are ..that makes them as culpable. Ears ringing is not funny. I often take my plugs to gigs and put them in if the band gets too loud... but I think legislation will come to lessen hearing damage this for the general 'good'.. No easy answer.... most people I know play to a decent level, noisewise and tend not to use them...or put them in. Mostly younger guys... but often if plugs are in the equation it is because those people are wise to volume being an issue with that band but are used for selfish reasons..ie, I'm wearing them so I can turn up.. Lot of truth in that, IME.

[quote name='sunburstjazz1967' timestamp='1451825768' post='2943695'] Needs the head reshaping and the tuners relocating doesn't it! [/quote] Pet hate.......... the strings HAVE to run true (straight) to the peg... I don't want to promote kinks or stress..

This is why a lot of musicians are quite desperate for work outside of London... They will work for reasonable money plus travel as the only ones interested in that money at that level are young guys who see the 'credit' has more value than the money itself. The older guys target the more mature artist who aren't current anymore...maybe on a comeback gig or are just knocking out regular gigs for good money.

Hate that hideous string mess at the nut...

IME some 4 ohms cabs don't sound the same as 8ohms. I regret selling my heavenly 8ohm for a 4 ohm version..

If you have a cab on the floor and you can't hear it... dispersion is the least of your problems. Basically you have researched poorly ...also, your sound needs working at As for taking a large box along to put said cab on..?? ???

I always look at the cars they drive.. We did a gig with a 60's one hit wonder band ..and none of the guys were original and so there was not even royalties in the equation and they turned up in 2 yr old SUV/4x4's and I think they took away £1500 for a 60 min afternoon set. They certainly didn't put up any trees playwise but were pretty competant.. How many gears..?? well they didn't need them..or show them and I think they do well through out the year. There is the Butlins circuit for them... that pays well. Local underground act of the 70's/80's..no hits iirc but albums got critical acclaim...asked to reform for £5k a gig... that beats running a pub for a brewery Most of the guys that pass thru are after tours and MD work for smaller theatre acts but I assume they are working for function money... They even have function bands as well... but they aren't doing £60k.. and they've played with some very good names. They'll tell you stories about a chart act paying £150 a night..and that is someone who has a string of hits...?? But yes...difficult and tacky to talk about money but I know what they'll work for if they haven't got anything that date... Better work for fun and turnover than sit at home..??? Collegue act last summer... never heard of them since and can't even recall their name..charged £7200 for a 35min set...and they wanted to come of stage after 25mins ::: That was an absolute steal... So..it depends on the circuit you can plug into.. What you can charge/get and what you are 'worth'..well, who detemines that..?

Just that I noted that these new ones were going for around £2k whereas the normal price was £3k plus... I wondered if they had a cheaper range..... It may well be that the 'new' ones werren't atcually new, but VGC S/H ones..?? I must admit I didn't have a really good close look as I was looking at other basses... I have to say, from a buyer and marque POV, I don't go for a premium maker downgrading a new cheaper range, generally... I may be mistaken here and they weren't new basses. If that is the case.,.they were holding their SH price well..??

Have to say that Lull are a benchmark... Not many get close altho I saw a few recently at around £2k new....IIRC. I wonder how they compare to the 'proper' ones..?? There is something about bonding with a bass.... and to do that it has to hit your mark in virtually every way...

[quote name='The-Ox' timestamp='1451742491' post='2942992'] Thats exactly what i mean on your last part. I was wondering if you knew people who were better than the million dollar guy, seems you do and I'm not surprised. I find it quite interesting that it's not always necessarily the most talented, quite a bit of it comes down to other circumstances, would you agree to some extent? Now the million dollar guy will obviously be a class act, but from what I take from it here is that there are better musicians without the big paying gigs, or at least it seems that this can sometimes be the case [/quote] Yes, I need to be guarded about what I say but we are lucky in having 4-5 very well connected guys who have very decent CV's.. How much they stand out is interesting, but there is one guy ...who also has had a very impressive 'career'..and he is another league...IMO. I do find this whole 'good' thing fascinating. But everyone is generally pleased that someone's hard work pays off.... but luck, circumstance and relationships also play a part. I would say the two guys I'm mainly talking about are very nice and personable people as well, so no one begrudges them their day in the sun.

Don't be clueless about what you play...think in sections and also shapes if you don't know the notes. You need to lock into a return point, so log that reference/position or note as the one that starts the sequence you are going thru. Learn the notes on the fret board and write a simple chart down. 4 beats to the bar, and section the song you are playing like that...assuming common time, of course. So..learn to count and then learn the shapes. Don't learn by singing the song... At the moment the fretboard might seem like a complete mass of notes ...you need to sort them out. There are only actually 12 of them.

[quote name='Guinness21' timestamp='1451696782' post='2942642'] That's may mind made up, thanks for reassuring me guys. [/quote] I'd throw TKS in there and I'd go for 2xS112's...as they are pretty much as light as it gets but they are still ceramic which gets you away from NEO. I do rate the CN range but the S112 beats it for character and all round tone, IMO. Which is why I bought them. 2x S112 and I've never had so many comments about them. Expensive way to go about things, but singles always are when paired. The gain over a 212 is that they are so light, one in each hand is a doddle and if your back is really shot, then 10kgs is lighter than a fair few amps.