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Old 11-25-2014, 08:33 PM   #41
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I'd say that things are a bit more free-form in my local scene. We are a rural town with a relatively small population. Lends to DIY acts, you can get away with anything, or be totally shit and still have a fan base.
As I said, I'm giving some general guidelines of common traits, not absolute requirements. Every situation is different. Gigging in a small rural town is different than a large urban area. Get a 30 song set-list together and make it happen. Repeatedly. For $$$. Anything is possible. Just don't confuse "possible" with "probable" or "likely."
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Old 11-25-2014, 09:06 PM   #42
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Is a thread about gigging for fun or for money? I know people who gig a lot, but they don't do it for money.
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Old 11-25-2014, 10:27 PM   #43
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Is a thread about gigging for fun or for money? I know people who gig a lot, but they don't do it for money.
To me, gigging implies "for money." Gigging for fun, giving it away for free (barring the odd charity benefit, etc.), is partly responsible for the increasingly more prevalent view of live music as disposable commodity and why working musicians are finding it more difficult to earn a living.

If it's worth doing, it's worth doing for money. If some musicians are willing to give it away for free as a general rule, then the public are less likely to pay for it from others who would like to get paid for their time and effort.
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Old 11-25-2014, 10:51 PM   #44
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To me, gigging implies "for money." Gigging for fun, giving it away for free (barring the odd charity benefit, etc.), is partly responsible for the increasingly more prevalent view of live music as disposable commodity and why working musicians are finding it more difficult to earn a living.

If it's worth doing, it's worth doing for money. If some musicians are willing to give it away for free as a general rule, then the public are less likely to pay for it from others who would like to get paid for their time and effort.
Exactly!! I guess the working musician is where I was coming from. There have been some fantastic suggestions in the thread for sure. Keith made some great points as did you all.
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Old 11-26-2014, 06:29 AM   #45
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I agree with the bass and drums are the foundations that holds it all together. The guitars (possibly talking more lead here) keys or whatever are just adding to the core of the sound. I would rather have a great rhythm guitarist than a great lead guitarist as well.
Getting to my point about what six said regarding vocals. If you take your audience most people in the audience won't usually be a player but every person in the audience, if it's covers, will probably sing along with the song and are more clued into how the vocals should sound or how the vocal Melody should go than any other instrument maybe that is why its important to get the vocals right
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Old 11-26-2014, 03:03 PM   #46
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Is a thread about gigging for fun or for money? I know people who gig a lot, but they don't do it for money.
I just quit a band that up until recently was gigging regularly. I wouldn't have done it if the band weren't getting paid, because I believe music has value. However, I was in it for fun. I wouldn't have cared if the rest of the band kept the cash, they needed it more than I did. In my Celtic band, I used my take at the last show to hire someone to haul our gear.
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Old 11-27-2014, 12:13 AM   #47
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I concur about the know your audience and their taste angle, be good enough to change you setlist according to venue. If you play a biker bar, be sure to know some Stepenwolf or old Doobie brothers. They seem to love that stuff. You might hate blues rock, but if your audience is as mentioned, you better know some.

Samey same for any audience, college frat kids, party music, etc...
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Old 12-16-2014, 03:15 AM   #48
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Much experience in this area. I have been in working bands since the late 60s and have experienced just about every negative and positive situations possible.

There's lots of good advice here, but I'll ad my two cents.

I've come to realize there has to be a leader who makes the final decisions and sets the course for the band to follow. Democratic bands usually separate into factions, or there are four or five opinions and nothing gets done. There has to be a leader, but that leader has to know how to lead other individuals, set an example, be familiar with human nature, and be able to assess each member's strengths and weaknesses and deal with all members fairly, but with firmness.

It's really knowing how to run a business. It is a business, if a band is not treated like a business, it won't work. For too many years, musicians let businessmen, many of them dishonest, run their careers. Steve Marriott was one of them, and his philosophy was, "I'm just concerned with the music. Let the businessmen and managers and agents run their end." The result was, Marriott was royally ripped off throughout his career. After Humble Pie, he was so broke, he and his bass player had to collect cans and bottles and turn them in for the deposits in order to eat.

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