JTUK

Definitely get an agent...but expect to pay them for doing something you don't/wont/can't. Tell them the fee TO THE BAND, and they can put their fee on top. Unless they travel with you to the gig, you'll probably have to collect the whole fee so you'll know what they charge of top... Anything between 10 and 20 % is 'fair' but you need to reconcile yourselves with the definition of 'fair' Being a good and easy band to work with has its own benefits..but you bring in someone to compliment you and do things you don't have the time etc etc for...??? As with all these things..talk about them FIRST, so there are no surprises down the line... as time will erode things and other stuff will get in the way. This is why I always like the financial aspect as that in effect can bribe people to a more narrow manageable convivial path..??

[quote name='lowregisterhead' timestamp='1416819020' post='2613780'] I'm with Blue on this one. Pooling funds can have unfortunate consequences. The first 'pro' band I was in kept back money from gigs to pay for a PA and an old van, with everyone's agreement. Despite having vaguely discussed some method of compensation if someone left the band, when I decided to go I was given nothing, although I gave lots of notice and even helped finding a replacement. Understandably, the new member didn't inherit my 'share' - the remaining 4 members shares increased from 20% to 25%. I suppose we should have put it in writing, but it left a bit of a bad taste, although I was much happier moving on. It later transpired that when the band split, the singer, who had the foresight to have the van registered in their name, took the lot! There wasn't enough money in it for anyone to get letigious. Suffice to say it was a good lesson in band/money management. [/quote] This is true..which is why when I bought the lights and P.A tops, they are mine. I 'hire' them to the band but they are my asset to keep. The idea being that over a period of time..the band may well pay off the cost and then own them... but we all know where that ends, so after a few tense 'discussions', someone buys and owns and hires..and the singer walks away with nothing I agree that band communial ownership needs a LOT of thought and agreement, but if you fall out... what then hapends..?? It is ugly. That is why I OWN what I OWN. We are used to hiring in kit anyway...as what we have will not scale up too far ( the limit is around 200-300 ppl ) so it is a calcalated cost for most gigs.

[quote name='Grangur' timestamp='1416799260' post='2613707'] You raise some good points there. I would expect to be paid less I were backing a know artist. But I'd like to see sone evidence of box - office value to the writer if this was performing in a local bar band. I guess the next point is; how many original tracks do the band have to play in its repertoire for that writer to start expecting an enhanced cut. [/quote] Depends what sort of unit you join, but if you were a stand-in dep... you would either be able to call the fee... because you have the credeence to do so, or they would determine what the gig paid..and most bands tends to have more than just a general split as they have other costs, like website, admin, P.A split, etc etc ... so a 5 piece would be looking to pat those extra costs from a 6th 'member' split. They may even have quite a complicated spreadsheet for this... so the bills get paid from the 6th member splitr which funds a kitty which pays out these bills as they occur. So just because a gig grosses £300 from a pub, you wont get/expect an exact split on that, IME.. Of course, there are bands that do exactly that... but if someone does extra work, it is probably better to pay them...before they start causing an issue about it..???

[quote name='Grangur' timestamp='1416771768' post='2613446'] Tell me to "slink my hook" out of this thread if this is an unwanted hi-jacking... JTUK, I'm a "Gigging Noob". I know enough that joining a band I need to be guided by the more experienced in the band. I know any track I suggest needs to appeal to our audience and have a good potential interest for everyone in the band. I know I need to commit to the band and turn up in plenty of time and be prepared to help others out to work as a team and get the show on the road. Added to that I need to have put enough effort in to learning the numbers and have the gear so my contribution to the act is good enough for me to earn my place and ADD to the entertainment; for all the right reasons. Can you tell me what else I'm likely to mess up enough that you wouldn't want me in your band? (No hard feelings. I'm only asking so I learn) This is an open question for anyone to answer. Many thanks [/quote] No hard feelings at all... and I think I contributed to a thread you started about this very subject. We all have to start somewhere but the simple fact is... and I am sorry if his comes across poorly, is that a new player isn't going to get a gig with us. That doesn't mean they never will, but we wouldn't be their first band. There are always many problems to fix, and I think you have a head start on a lot of people with your general willingness to absord ..and the mere fact that you have made it work is a credit all round, but sometimes you need more than the ability to play.. you need great sounds, you need a proper attitude in your playing and you need a certain level commiserate with the gig your are going for.. There are too many variables in the unknown/unprooven...

[quote name='Marvin' timestamp='1416764620' post='2613339'] Lozz and Beedster always seem to buy quality gear, they're happy with the Barefaceds they've bought, , speaks for itself to me...and I wouldn't describe them as fan boys either. Not liking the the finish or sound of these cabs is a matter of personal taste. There are numerous members on BC that dislike cabs finished in carpet, we don't however have threads questioning the quality of MarkBass products on that basis (who incidentally seem to use the same handles). [/quote] There seem to be a few people who start threads about Barefaced issues ( I never have )... and they are/were owners. I question a high priced product and the quality of build, from what I have seen,... ( I could also mention sound but I don't know what the end user wants to hear or is doing with the signal-chain ) but you can read enough threads and posts here about the issues...both for and against.. It seems every company is fair game but people get over protective about this one... FWIW, I don't much like Mark bass cabs but no one else gets so defensive about it. I think being critically objective is a good thing and is the whole value of a site like this, It is not as though people are making all this stuff up... ???

It is good to get asked... but it also depends on who is asking.

I've had the same cab in 4 and 8 ohms ( 212 config ) and they sounded pretty different...to the point that I loved the 8ohm version and I've never really been that convinced about the 4 ohms version.. seriously...!!

[quote name='Count Bassy' timestamp='1416755943' post='2613193'] Oh yes: At the moment very much the one about wanting to do songs they like personally (or allows them to showcase), without regard for the rest of the band's tastes or what a prospective audience will want to hear! We tried the approach of everyone suggesting three songs and then agreeing on one from each person's list. In response the singer circulates a list of [b]21[/b] songs he wants to do, the vast majority of which are album tracks that most people[size=4] (including myself) [/size][size=4]have never heard of ! [/size]At the same time a very sneering attitude to anything that anyone else suggests. I'm all for doing something a little bit different, but (IMO) 95% of a covers band set needs to be stuff that the audience will at least recognise. I could quite happily do a complete set of Family and Roger Chapman covers, but I'm realistic enough to know that it would not go down well with a typical pub audience. It's a shame because I think it will end with the band folding. Grrrrrr. So, Blue, if I may add to your list: [list] [*]People who think that it's [i][b]their[/b][/i] band [/list] [/quote] This is pretty close to home for me..... as we had everything going in the right direction and everyone pretty much on the same page. But then one member change can undo all that. When you go to pick new numbers...Come prepared and do your homework... don't just bring an ipad with spotify and go thru everything that crops up ... so you hog the whole session. This is disjointed thinking an shows a lack of thinking AND respect ...and shows a selfish side that you really need to nip in the bud. Members should have 3-5 songs max...and it is down to them to choose those 5 ..not add another 5 on the night. If you steer away from the accepted agreed brief, you start to lose direction and focus on what you are trying to do. I am all for a varied set and doing songs that are a bit off the radar as some audiences are more open and knowledgeable than you would think, but that is why you need 3 sets. We have a pub set..in which everything goes ( on the basis that the money doesn't justify us doing anything other than what we want to do. We will live or die on those choices anyway ) We also have a aprty set which really needs to capture the crowd... and we also need a festival set which needs to do the same,so the latter two are closer in purpose and content than you think.. And finally, don't let anyone think it is their band unless you really want to give up all control. If that was the case... I'd say fine, I'll do what YOU want, but you don't get to pick what monies I'll play for or when I am available.. ( I'll take dep.session player status now ) .......and then be prepared to walk

[quote name='tauzero' timestamp='1416745921' post='2613073'] My cabs are a Tech Soundsystems 4x10 (which I'm happy with) and a brace of GK Neo IIs (which I don't seem to be able to get the sound I'd like from). I'd like a pair of lightweight 1x12s but don't know what as yet. A budget of approximately £0 is helping with that decision, in that I can't go out and buy anything at the moment. I mention this so you realise that I have no dog in this fight. [/quote] Totally understand that... I have too many cabs as it is and need to sell a set ( 112's as it happens ) before I buy anymore in. I have lightweight and I have heavier so I can do all my gigs with what I have atm so it has to be 1-out, before 1-in. But if I don't get the price I want for my sale, I stick with my current cabs...no problem. They aren't shoddy by any means, and some call them the 'best' cabs etc etc ... but I want to go another direction.. Quality. from my POV is a big thing for me tho... so that extends to everything about the kit. I'm vocal enough in that regard, I guess, in all things, re bass, kit and music stuff in general

[quote name='Muzz' timestamp='1416740443' post='2612997'] Haters are, it seems, gonna hate... [/quote] I don't hate them..just don't rate them. I have to admit to being totally bemused at the tone goals of the guys I've heard that do use them round here... But whilst they may not have much of a clue as far as I am concerned, it goes quite a bit further than that, IMO.. but we don't have to get into that.

It isn't going to work very well, if the guy can't get to gigs, but you wouldn't pick a guy who hadn't gigged before and knew what was what... There are basics that are a given...IMO. So the ability to run a diary, be up to speed on the set, and play well and bring something else to it..is where you should start, IMO.

I tend to pick people that can move in the same musical direction.. and then I want to see what they can bring to the party. What is not fixable is chemistry but you can help the band by choosing or keeping songs that work. The direction of song choices will vary and might evolve over a period of time and this in itself might causes problems, but by this time you should see the point of that 'change' of direction and benefit from it. A few non-negotiables are bad chemistry and bad playing...IMO. but it is also pointless playing your arses off and not getting numbers thru the door. The better players will cost more ...typically...so you need to crack the equation of top dollar members fees with venue fees. This is why you have to try and get out of the pubs as soon as possible, IME. I'm not saying pubs don't have their place...they certainly do, but a good band will not be sustainable on that revenue alone... unless you play ska ( around here ) whihc rams the pubs and therefore justifies the far better fees... So... if the band is good and great fun, most other things can be 'tolerated'... but like all these things there are degrees of that

[quote name='tauzero' timestamp='1416700739' post='2612835'] I've only heard one, and that was EQed so far differently to what I'd do that I couldn't give an opinion of the sound. As for seen, though, you have just been slavering over this and yet this is so ugly you wouldn't give it house room. And although the S112 doesn't use shelf ports, other cabs in tks's range do - a design feature that you have railed at in BF cabs but which is apparently perfectly acceptable from other manufacturers. [/quote] But if you have read the threads I've gone on about the sound of the S112 which also happens to be rear ported. I've never been a fan of shelved ports and was glad the S112 went away from that design. I even said in TKS threads that I've never 'liked' it but if everything else about the cab was to my liking, I'd go with it but the build quality is good and the sound of the cabs I've used is very good. I know which model I would buy and it would be rear ported.. There are plenty of threads about Barefaced build issues, that I'm certainly not the only one to mention it.. If you are happy with your cabs then fine ...but if you want to know what people and the industry thinks but will not write here, ask around, That doesn't make it defintive for sure, but maybe the BC'ers that have sold their cabs on might be the ones to ask... and see if they went back to the same maker and why....!!!

[quote name='Prime_BASS' timestamp='1416731370' post='2612907'] I'd like to know what the actual design is. [/quote] This is the more pertinent point... Nobody has seen it, or heard it and it is unclear how it will even be finished, or when... Don't get this thread at all.. Its a non product atm, to all intents and purposes...???

[quote name='stingrayPete1977' timestamp='1416679450' post='2612612'] Yep, Stingrays are unplayable junk, weak G strings, dirty raw unfinished maple necks, one trick pony and even then only a good trick if you are Bernard Edwards in the first place, [/quote] At last, you've got it

Expect to see pics then..

Misses the mark. Would do ok-ish in a pub, maybe but wouldn't be one of the better ones in the area.

No problem with the build quality... as you'd expect from Sims, but I don't like the pick-up block. It works well and sounds good but it just unbalances the look of the bass. If I wanted a P or a MM, I would have one so I guess that puts me out of the reckoning as I don't need the whole concept of one pickup doing it 'all'

What have you gone and done..??

[quote name='FuNkShUi' timestamp='1416651280' post='2612223'] So, heres the deal, if everyone can help me sell my Bergs, I can get me some S112s and then join your club. Pleeeeeeease [/quote] Same for me

[quote name='TimR' timestamp='1416587206' post='2611733'] Peavey, yamaha, phonic, behringer etc. All did pretty much the same thing. [/quote] All WERE pretty much the same thing, iirc...parts-wise, and throw in Mackie as well,

I've always thought I'd like a DJ5 but everyone I've played has sounded 'meh'.. I definitely think they need a pre amp as the core sound of the pickups are soft and just lacking, IME. I wouldn't say the fit and finish is that much to shout about either... not that it is poor, but it is only on par with the rest in its pricepoint so not a selling point in itself, IMO. I've wanted to aquire one but.....??

[i]Yep, review and pics..[/i]

I was going to put Felder first.... but JPJ is very good and clean on that track, at least in the first segments of the tune.. By contrast, John Deacon is way behind. Also, by the standards of the day, I doubt bass would have had many drop-ins and certainly not if Motown were paying Zep might have indulged JPJ a bit with a punch in and out here and there...??