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they get the stuff for next to nothing but i don't. thus, a set of strings from them has the value of whatever i would pay in the shops. Hence that's £15 quid i don't have to spend.

anyone able to bring 50 people to a gig at a local level should be able to command far greater than that.

which local gigs are you talking about? I'd like to see some examples of how much local bands are getting paid for gigs as a comparison. On a 5 band bill you all sell all your tickets' date=' all make £50 and each play to up to 200 new people. Doesn't look too bad to me. Fair enough the promoter takes £1000 at the door, minus PA hire and venue costs, but that means very little to me. If i'm playing good gigs and covering my costs, then I'm happy.

I have to say one thing. It's a beautiful moneyspinner for the organisers

Thank fuck you're here, the rest of us thought they were doing it out of the goodness of their hearts. You always have one thing to say and it's usually fucking dung.

/x

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well it depends on what u like! i'd go for either ernie ball or rotosound and ernie's are available for 15.95 delivered right here ;)

http://www.piedog.com/musical_instruments/guitar/guitar_accessories/strings/bass/ernie_ball-bass.html

and roto' 66s are a little bit more:

http://www.piedog.com/musical_instruments/guitar/guitar_accessories/strings/bass/rotosound-bass.html

or if you fancy going ghetto:

http://www.piedog.com/musical_instruments/guitar/guitar_accessories/strings/bass/encore-bass.html

/x

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they get the stuff for next to nothing but i don't. thus' date=' a set of strings from them has the value of whatever i would pay in the shops. Hence that's 15 quid i don't have to spend.[/quote']

Sounds like a false economy to me. I don't see the sense in paying someone effectively 245 for one gig, just to get some stuff that costs them nothing and with the carrot of future, bigger gigs in front of you - but with no guarantee of any return whatsoever. Your mileage might vary, but it seems like the bands are being used to do the promoter's job - something that gets incredibly slagged off on here.

which local gigs are you talking about? I'd like to see some examples of how much local bands are getting paid for gigs as a comparison. On a 5 band bill you all sell all your tickets, all make 50 and each play to up to 200 new people. Doesn't look too bad to me. Fair enough the promoter takes 1000 at the door, minus PA hire and venue costs, but that means very little to me. If i'm playing good gigs and covering my costs, then I'm happy.

Anyone here selling 50 tickets for a gig should have the clout to demand more. How many Aberdeen bands can sell 50 tickets off their own back? Not many..maybe if they really tried they could, but what's the likelihood of it?

Is it right that the promoter should do fuck all effort and watch the bands fill the venue, while taking home a huge lump to themselves? If you look back, there was a huge fuss over Silver Fox demanding payment for practically the same thing.

Are bands being paid for playing at Emergenza, or are they simply getting 1 from every ticket sold? What if a band brings lots of people but they can't sell tickets, is that fair in any way? Off the top of my head, a band like Tears of Grace could do very well at this kind of gig, yet because they don't know who their fans are, they would get paid sweet fuck all despite bringing their fair share of people - all of whom would've paid 8 straight into Emergenza's pockets.

Any promoters want to comment on how they pay local bands? Anything I've ever done, I've always tried to make sure that the local bands got a fair split of the money left once expenses and out of town bands got paid. To give a band 50 that might've sold 50 tickets is nothing short of an insult when they're potentially taking (let's say the tunnels) 1500 from ticket sales in advance. Say you have 6 bands, that's 300 paid out and 1200 left - and that's assuming that all the tickets go in advance...and you're telling me that this is a good thing? I'm sure some of the moralists on here would have a fit at taking such a huge profit from a gig.

It's amazing what the lure of "potential riches" do to people.

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Sounds like a false economy to me. I don't see the sense in paying someone effectively 245 for one gig' date=' just to get some stuff that costs them nothing and with the carrot of future, bigger gigs in front of you - but with no guarantee of any return whatsoever. Your mileage might vary, but it seems like the bands are being used to do the promoter's job - something that gets incredibly slagged off on here. [/quote']

what the strings and skins are worth to them means fuck all to me. i've already said that. saying that it's the same as paying someone 245 for a gig is ridiculous. would any band expect to get 100% of the door money that they produce? no, i didn't think so. whether it's a thank you or a bribe, i get some free strings and that's all that matters in this instance. i have played hundreds of gigs over the last seven years and for the vast majority of them i have been paid absolutely nothing. not a penny per ticket, not a set fee, nothing at all. fuck all. zero pence. but does that make me bitter and twisted and think that i'm worth more than that and decide to tell all the promoters to get to fuck and do it myself? no, because i have no intention of making a living out of this. it's not going to happen. I have played at most small venues in aberdeen, usually with an ok backline, but i've played at a variety in glasgow with shite equipment and not made a penny from it. here, we paid 45 and we play a gig in a nice venue with a great backline and when we sell our tickets, which is possible because it's a likely to be a decent gig with a six band lineup and (hopefully) good sound, we get back 50. that is a profit of 5 which i am pleased with. that's 5 more than the vast majority of gigs have ever paid me. next, because it's a well publicised, busy gig, we will sell some merchandise and get our name out, meaning that there will be people watching out for future gigs and hitting our website and myspace page which is nice. if we play well and people like us, or we bring more people than the other bands, we move on to the next gig. this next gig is organised for us, costs us nothing and gives us yet another chance to play to a big crowd with a great backline in another nice venue. here tho, we can sell 50 tickets and get 50. that is all profit, meaning that we've now made 55. that's not to far from the most i've ever been paid to play a gig. if we don't go through, we will have played a good gig and picked up some fans with a 5 profit and a free set of strings each.

Anyone here selling 50 tickets for a gig should have the clout to demand more. How many Aberdeen bands can sell 50 tickets off their own back? Not many..maybe if they really tried they could' date=' but what's the likelihood of it?[/quote']

any band on the fucking planet can sell fifty tickets in 3 months. jesus christ, if an average band has 4 members and each of them can't find 12.5 people to come along, over that time period, then they have some serious social issues. selling fifty tickets alone tho will not fill any venue (apart from maybe old drakes) and so this is meaningless. i could book out the tunnels tomorrow and put on just festr and sell fifty tickets for it, but what happens then? we make enough to pay for the venue or come out at a loss.

Is it right that the promoter should do fuck all effort and watch the bands fill the venue' date=' while taking home a huge lump to themselves? If you look back, there was a huge fuss over Silver Fox demanding payment for practically the same thing.[/quote']

very few young, unsigned bands are in a position where they can sit back and watch a promoter do all the work and expect to get rich at the end of it. every band on here who land good support slots get to sell their own tickets for them. i don't hear you moaning that the promoter is not working then.

Are bands being paid for playing at Emergenza' date=' or are they simply getting 1 from every ticket sold? What if a band brings lots of people but they can't sell tickets, is that fair in any way? Off the top of my head, a band like Tears of Grace could do very well at this kind of gig, yet because they don't know who their fans are, they would get paid sweet fuck all despite bringing their fair share of people - all of whom would've paid 8 straight into Emergenza's pockets.[/quote']

if a band can't sell fifty tickets, then it's probably not a very good idea for them to sign up for emergenza cloud. this is not a fucking secret pyramid scheme which you have to enter to find out the rules for. you go to a meeting and they explain all of this. noone on this earth HAS to play an emergenza gig, yet you seem to think you know more about it than anyone. if a band have no conceivable way of selling fifty tickets in a given time, and the gig requires them to do this to make their money back, it think it's fair to say that they shouldn't be doing it.

Any promoters want to comment on how they pay local bands? Anything I've ever done' date=' I've always tried to make sure that the local bands got a fair split of the money left once expenses and out of town bands got paid. To give a band 50 that might've sold 50 tickets is nothing short of an insult when they're potentially taking (let's say the tunnels) 1500 from ticket sales in advance. Say you have 6 bands, that's 300 paid out and 1200 left - and that's assuming that all the tickets go in advance...and you're telling me that this is a good thing? I'm sure some of the moralists on here would have a fit at taking such a huge profit from a gig.[/quote']

i know cloud, we've heard it all before. you put on gigs. you organise them and sell the tickets and poster and flyer for them and make the tickets by hand and make the paper that the tickets, flyers and posters are printed on by hand. then you get the bands. sometimes you have to make them by hand too. out of town bands come from croatia and play in the foyer of the little belmont hut and you put them up. when funds aren't so tight, you actually fashion them a prefab house out of recycled materials and fit wheels on it so that they can take it with them when they leave. each shack has a power shower and central heating, all covered by you. they play the gig through top of the line gear which you design, hand build test and setup yourself. you engineer it on the night as well as doing the door and operating the wheelie-bar you've brought from home and at the end of the night, each of the bands get paid a cool half a mill each for doing it and the punters get 3 each for turning up. i, on the other hand, really couldn't give a flying fuck how much i get paid. put on one of your gigs with 6 bands playing and charge 5 in advance. get 5 of the bands organised, promise them 50 each and tell them they have to sell 50 tickets. then, if you get these tickets sold, you can choose either festr or quixote and we'll come up from glasgow to play the thing for free just to show you how much of a fucking nice guy i am. that'll be 1250 at the door, assuming noone comes to see us (which is extremely unlikely, since i'm the second most entertaining man who's ever lived, close behind will smith), minus 250 for bands, minus whatever the venue costs (i'm gonna make a flavoursome guess at 150 which i think is more than the tunnels charge) which will leave you at 850. minus the posters and flyers which you can give to the bands to ensure their tickets sell, which we'll budget 150 for, and that leaves you with a grand total of 700, which should be a nice little start to the empire in your head. essentially, you have just made 700 for fuck all effort, using my idea. and if you choose quixote, we're gonna be taking 4 people from glasgow which on the train would cost us about 120. plus food etc. on the move which would be another 30ish = 150(loss) and i'd still fucking do it, because profit makes absolutely no difference to me. i like playing bass and entertaining people, end of story.

It's amazing what the lure of "potential riches" do to people.

and that's exactly why i think you're a cunt.

/x

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  • 2 weeks later...

quick run down of our gig last night in glasgow (ivory blacks) in the first round of emergenza.

the people were super organised and kept everyone to 25 minute sets and 5 minute changovers by using the same backline and getting drum plans and amp settings written down to help bands switch.

first band got a full soundcheck and everyone else just did guitars but FOH sound was spot on all night. really good equipment and either brand new or all in great nick.

we sold all 50 tickets and made back our money and a little extra. we got a set of ernie ball bass strings, guitar strings and a remo drumskin for free too which was nice.

the crowd was around 250 and everyone was enjoying each others bands, unlike the 'dont clap for them' attitude which i expected. we took 50 CDs with nice glossy covers in slimline cases and 100 sweet business cards to give away and loads of people we didn't know actively approached us for them after we played so we shifted the lot.

other bands were all really nice and we had a good laugh.

got the gig recorded through the desk straight onto a CD and the quality is superb. well worth the 15 we paid for it.

the gig is voted for by the fans in attendance and the other bands. out of the 6 bands on the night, 4 go through. we played well and were voted top by both bands and crowd so we won outright! onto the semi final we go. another gig with a good crowd, great backline and a chance to make a little bit of cash and promo the band to fuck!

spoons

/x

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i didnt grudge paying £15 for it. never been offered it so cheap anywhere else with decent sound.

/x

I've never been charged for it, anywhere.

£15 for pressing one button, multiply that by 24 channels, several buttons per channel, hey, why am I not rich?

Oops, sorry, forgot the emotional trauma of taking the CDR out of it's wrapper and having to eject the tray, placing CDR in, then reversing the process.

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and if cloud's not a complete cunt' date=' he does an incredibly good impression of one!! fucking potential riches. penis

/x[/quote']

he isnt as much of a total ass smear in real life.

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which personal attack, the cloud one? i made perfectly good points and he tried to make me look like a dick so i creamed him for it. i'm not a nasty guy, but that's how i roll.

you're right enough tho soundian, next time i'll buy myself a cd recorder, take it with me to the gig and hook it into the desk when noone is looking. that'll be well cheaper. they offered it for £15 and our singer fancied it so he got one. where have you been offered this service for free, because i'd be interested in giging there. after all, it's the little things that make the difference.

and reject_monkey - he couldn't possibly be :D

/x

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I've never been charged for it' date=' anywhere.

15 for pressing one button, multiply that by 24 channels, several buttons per channel, hey, why am I not rich?

Oops, sorry, forgot the emotional trauma of taking the CDR out of it's wrapper and having to eject the tray, placing CDR in, then reversing the process.[/quote']

you sound engineers never stop moaning

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where have you been offered this service for free' date=' because i'd be interested in giging there. after all, it's the little things that make the difference.

[/quote']

moorings:up:

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which personal attack' date=' the cloud one? i made perfectly good points and he tried to make me look like a dick so i creamed him for it. i'm not a nasty guy, but that's how i roll.

you're right enough tho soundian, next time i'll buy myself a cd recorder, take it with me to the gig and hook it into the desk when noone is looking. that'll be well cheaper. they offered it for 15 and our singer fancied it so he got one. where have you been offered this service for free, because i'd be interested in giging there. after all, it's the little things that make the difference.

and reject_monkey - he couldn't possibly be :D

/x[/quote']

As I said, I've never been charged, or charged anyone, for making a desk recording. Even with the house MD/CD recorder.

That also includes multi-tracking recordings.

I just think 15 is a bit steep for practically no extra work, if it was a nominal couple of quid for the CDR and the minute or so work I wouldn't mind, but 15, I would have refused out of principle (the principle being that it works out at about 900 an hour).

Anyway, if you guys thought it was worth it, then I suppose it was

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moorings:up:

a raw dump that needs mastered is no use to us and having that done costs about 70 a track if i remember rightly!

15 is costly considering what the sound engineer has to do but it was a small fee considering what we got and we were more than happy with it.

/x

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