ivansc

So six grand gross take. After all the exes I would be surprised if they took home 2k between them even so. Its tough at the top AND at the bottom, evidently!

[quote name='blue' timestamp='1506125735' post='3376664'] I would love to move up to 1.5 hour 200 seat headliner gigs for 2k. Blue [/quote] Mathematics doesnt work out too well on that one, Blue. 200 punters x 10 bucks gives you your 2k but doesnt cover anything else. In the UK you would have to be doing at least 3-400 seaters to stand a chance of getting that sort of money & of course you then fall foul of the classic "We make a grand a night once or twice a month" versus "We make 500 a night four or five times a month" syndrome. I am like you - love to gig, so would be doing what I am doing right now. Any place any time anywhere for silly money because I dont really need the bigger $$ any more.

[quote name='bassman7755' timestamp='1506170598' post='3376843'] Another guitarist noone can copy convincingly is carlos santana, his phrasing and timing as just too idiosyncratic. [/quote] ....especially during his many years of playing everything ever so slightly sharp! OUCH!!!

[quote name='blue' timestamp='1505178760' post='3370028'] This can also happen with dishonest agencies. Quoting one amount , collecting another and taking their % plus a little extra. Blue [/quote] Par for the course on many agency gigs in the UK since the sixties right up to the present day. My attitude has always been that if YOU agree to work for a price with the agency, what they get is down to them. Sometimes it backfires! Did one gig at a military establishment where the man in charge was getting on our case over taking any breaks, since he was paying over a grand for the band.... We had negotiated a price of £600. Which we didn't actually tell him, but we did say we were receiving considerably less than the grand. He wound up sympathetic and we did our job - everyone happy. Would have liked to have heard the follow up call he had with the agency, if he bothered.

Out of hospital late Tuesday and discovered that this weekends "auto-booking gig" is apparently with another bass player and an accordionist, plus maybe a drummer. Tiny pub in Cambridge called The Elm Tree. Guess we will be going all New Orleans-y - I only do that occajunally.

*sigh* I suspect even Chuck wishes he had never released that particular gem, apart from the income it must have generated...

[quote name='blue' timestamp='1505755741' post='3374080'] Your probably right. We play 4 hour nights for $500.00 and pub gigs are closer to 2 hours for $250.00. Pretty much the same Blue [/quote] Wow! That is almost as bad as Nashville no-name money! UK I have been getting about 450 uk pounds for club dates and about 250 for pubs. This regardless of if it is the 4 piece band or the trio etc.... even get 150 and more doing a solo! But now I am mostly doing self-indulgent originals/obscure sh*t gigs the money is ludicrous, of course. Between 35 and 50 a man....

Sam the Sham had Little Red Riding Hood too. Humble Pie a one hit wonder? Or are we not counting albums?

I would settle for a band that just plays the correct chord sequence for Johnny B goode. Let us not forget one of the reasons Chuck wrote Bye Bye Johnny with a standard 12 bar sequence.... I think the biggest reason guitarists don't learn the Chuck style and licks is because they all think it is "easy". Bit like rock and rollers or jazzers etc who think country is easy. Those intros and solos are deceptively similar & "simple" but pretty much every one DOES lead into the actual song logically. Think about "Talking 'bout you" and "Nadine". Near enough the same song? Now granted you could be forgiven for fluffing School Day and No particular place to go...... I used to do them as a medley.

[quote name='spectoremg' timestamp='1483461436' post='3207321'] Just realised I've seen them - they were on the Knebworth bill in '79. Back on topic, can't stand 'em but you can't deny their talent - and Dave's singing over those tricky bass lines too. [/quote] (grin) `At`s because you are a Northern Bastid, though! Take a course in remedial cockney and you`ll love them. I love running their Youtube vids and seeing the CLOSED CAPTIONS roll over and die trying to interpret gorblimey into english. Tried doing a couple of their songs when I lived in Nashville and gave up rather than answer all the questions....

[quote name='bassace' timestamp='1505839987' post='3374691'] In over fifty years my gig count must be in the low thousands [/quote] Busy boy!!! One a week is only about 2500... I have 63 years gigging in and cant get close to that.

FWIW the event organiser or the owner/tenant of the premises is required by law to have TP liability insurance anyway, so this erstwhile government requirement was about as well thought-out as so many attempts at clobbering the live music scene. We had ONE gig a year that required TP liability and wanted to see all our PAT stickers, Since the insurance was £175 and the gig only paid £450, we decided it was better to dump the gig. Bloody small holiday camps....

Festival of Britain, Queen Liz II coronation, inauguration of Harrow as a London Borough.... To quote Max Boyce: I was there! Forget Sputnik, how many of you remember the Skylon? Battersea Pleasure Gardens? Dome of Discovery??? I was 9 when the King died. Joined my first band about 18 months later.

(gin) Factory variations, I guess. And much as I know we all love and respect Carole Kaye, 1. She started out as a guitarist, and we all know about guitarists who play bass and 2. She does have a tendency toward hyperbole at times, doesn't she?

[quote name='ivansc' timestamp='1504719140' post='3366891'] The original *FENDER* factory foam mute was glued to the inside of the rear ashtray so that it sat exactly on top of the bridge. Only needs a very slight overlap to give the classic mute effect.... not much actual pressure on the strings, either. [/quote] Sorry but just realised I missed out the most significant part - this was "as supplied by the factory" on ALL P basses at the time.

I assume that opinion is based on personal experience, then?

(grin) I joined a band at the same time as the drummer retired. He had been responsible for doing most of the booking. Turned out he had been pocketing " a commission" from any cash gigs - usually an extra £50 in his pocket that we didn't know about. ....and then the cheeky bugger asked if he could rejoin the band about 6 months later!

No apologies needed, provided you are over 60. We can get away with anything.

I could understand it in Glasgow, but I thought Edinburgh was the home of fur coat and nae drawers?

(grin) Despite my asking among my farcebook friends if anyone wanted to join me on a regular basis, the local drums bass and guitar Mafia once again have arranged a couple of gigs for me - tickles me the way they discuss it all, book it and THEN tell me! Last nights gig was me playing as part of that same Cambridge Mafia - two regular members were on holiday - so I got to do my usual stuff AND play elecrtic guitar for a couple of other acts! A busy, fun evening and amazingly my wife decided to come too - probably the first time in ten years she has attended one og my gigs!

How can something wrapped round the strings at the bridge end stop open strings from sounding but not stop the fretted ones? Madness.

Had forgotten about this thread. My instruments all stay in their cases with one exception. My Explorer-y bass thing, which already weighs a ton, has a necessarily HUGE hard case made by 5 sar cases in Ely (excellent cases!) and the case weighs a lot more than the bass. The combined weight is more than I can comfortably carry these days and I havent found a gig bag that will fit!

[quote name='NJE' timestamp='1504717979' post='3366885'] This is the exact reason I sent back the Gruv Gear Fump. It totally messed up my tuning [/quote] Never seen one before but whoever came up with that had no idea how it is supposed to work.

The original foam mute was glued to the inside of the rear ashtray so that it sat exactly on top of the bridge. Only needs a very slight overlap to give the classic mute effect.... not much actual pressure on the strings, either. And FWIW do you know how much or little that two red LEDs on your tuner represents in terms of pitch? Might well be a case of you listening with your eyes and the true effect on tuning (and certainly intonation) is not that relevant.

Feel for you, Count Bassy! I have exactly the same problem myself even with varifocals!