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Grumpy Jerks....... Effects Pedals, Units & Accessories
Old 5 days ago
  #451
Lives for gear
 

Quote:
Originally Posted by shufflebeat View Post
People will learn if you let them. Be an inspiration, not the Tech Rider Police.
People will learn better if you don't have an army trying to undermine sensible arguments with foolishness.

Quote:
Btw, read my edit, efficiency is not everything.
Never said it was and this argument is beside the point...it's either good or not good, there is no need to define everything I write, you don't do this with anyone else.
Old 5 days ago
  #452
Lives for gear
 
Bstapper's Avatar
 

Yeah we get it. Everyone is foolish but you. You have pooped the same diatribe on every page of this thread with a remarkable lack of the efficiency for which you continuously stress.

But don’t let me stop you from ruining this thread by continuing to extrapolate and apply each sin to every poster and somehow reach conclusions nobody has presented.
Old 5 days ago
  #453
Gear Addict
 

Quote:
Originally Posted by Samc View Post
...there is no need to define everything I write, you don't do this with anyone else.
I am aware that I may have become sensitised to this and will attempt to curb my reactions. Any support you can give in this regard would be much appreciated.
Old 5 days ago
  #454
Gear Head
 

There's a time and place for everything - this thread was supposed to be about grumpy stories. Not about running the perfect tour or best rider and pointing out how this or that person made a mistake or was unprepared. Just .... stories.
All that other stuff could have been a great seperate thread with lots of usefull information.
Hope we'll get back to the OPs intention with this thread.
Old 4 days ago
  #455
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norfolk martin's Avatar
 

Quote:
Originally Posted by Thomas W. Bethe View Post
Touring can and should be a lot of fun. Unfortunately most times it is not. Expectations outweigh reality most of the time. .
This is something modern that has started to disturb me. I've noticed that some technical riders are becoming less and less realistic for the size of the venue and the type of tour going on.

I'm talking about the low end of touring, where the band is on maybe a $1,000- $1,500 guarantee, and we're going to need a decent turnout to break even . some of the riders are clearly nothing more than " here's what we used to record our last album" One specified a total of 12 drum mics on a five piece kit. ( 3 OH, 2 snare and top and bottom on each tom.) This is in a venue were I sometimes don't turn the tom mics on.

What may be appropriate for a flagship gig on the cost is not necessarily appropriate for a Tuesday night Oklahoma stopover that's on the tour to fill in an otherwise lost day on the way to somewhere else.
Old 4 days ago
  #456
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Bstapper's Avatar
 

Quote:
Originally Posted by norfolk martin View Post
This is something modern that has started to disturb me. I've noticed that some technical riders are becoming less and less realistic for the size of the venue and the type of tour going on.

I'm talking about the low end of touring, where the band is on maybe a $1,000- $1,500 guarantee, and we're going to need a decent turnout to break even . some of the riders are clearly nothing more than " here's what we used to record our last album" One specified a total of 12 drum mics on a five piece kit. ( 3 OH, 2 snare and top and bottom on each tom.) This is in a venue were I sometimes don't turn the tom mics on.

What may be appropriate for a flagship gig on the cost is not necessarily appropriate for a Tuesday night Oklahoma stopover that's on the tour to fill in an otherwise lost day on the way to somewhere else.
Exactly.

And then there are the ones who get it. Like a certain friend of mine that, while he makes most of his money via TV and film placement, has generally toured for five years straight without a crew. Just a guitar, the band, and a simple rider on backline and accommodations.

Books everything himself. Manages the tours. Has been in Europe for the last two months rockin' it out and will actually come home with money in his pocket and able to pay his mortgage on his nice house in Austin. Makes a damn good living, and works hard to earn it. But certainly has figured out a business model that works for him that is not traditional. That model is becoming more and more the norm for anyone that isn't a major label act here in the states.

On the other hand, I've witness signed local artists who show up with two tour buses and a trailer to the local home town gig, complete with guitar tech and full tech crew, but who had to borrow a guitar cable from me because they forgot one at home. Just showed up with all the rest of the crap to impress their friends. Of course now they are all broke working day jobs and trying to stay relevant.
Old 4 days ago
  #457
Lives for gear
 
Bstapper's Avatar
 

Back to the original intent of the thread - made me recall the first audition I participated in with a working band. This is 30 years or so ago •image of clock winding backwards•

At the time a certain booking agency had every club in Houston as their client and if you wanted to work you had to get signed by this agency to get a gig. But if you did get signed on you would have as much work as you wanted.

Having friends that were already on and living everything the rock and roll lifestyle offers to a young gent (minus the fame and fortune part of it, but those were the least of our motivations) we put together a group with the sole purpose of gigging regularly and making music for a living.

Showed up at the showcase for the big audition and unfortunately the agent had chosen the lead singer of one of his groups to host the showcase and operate the equipment.

I had an unusual methodology at the time which consisted of a custom tube driven effects loop on a JCM800. Patched into the loop was a Peavey Valveverb. This allowed me to keep the pre and post gain on the amp at 11 and use the verb as my volume.

Before I played a note the dude looked at my amp and started screaming “this ain’t Woodstock, turn your amp down. You’re never going to work for us playing at those levels”. I kept trying to explain and he was having none of it. Had to turn the master down and ended up auditioning on my knees in front of the amp in a valiant attempt to try and hear my guitar. It was horrible and we didn’t get signed on until we managed to score another showcase several months later.

That guy was a grumpy jerk.

Last edited by Bstapper; 3 days ago at 10:23 PM..
Old 3 days ago
  #458
Quote:
Originally Posted by norfolk martin View Post
This is something modern that has started to disturb me. I've noticed that some technical riders are becoming less and less realistic for the size of the venue and the type of tour going on.

I'm talking about the low end of touring, where the band is on maybe a $1,000- $1,500 guarantee, and we're going to need a decent turnout to break even . some of the riders are clearly nothing more than " here's what we used to record our last album" One specified a total of 12 drum mics on a five piece kit. ( 3 OH, 2 snare and top and bottom on each tom.) This is in a venue were I sometimes don't turn the tom mics on.

What may be appropriate for a flagship gig on the cost is not necessarily appropriate for a Tuesday night Oklahoma stopover that's on the tour to fill in an otherwise lost day on the way to somewhere else.
I agree!!!

I did a Country gig where the main performer wanted 32 mics on her drum kit. it was a very large "kit" but 32 mics??? I also did a concert where the main performer's wants took up two pages of a 12 page tech rider. One of the requirements was that all microphone be "properly disinfected" at the beginning of the show and at intermission and that all persons working the show be germ and disease free and that any one with a cough or who was sneezing be kept off the stage for the duration of the concert. Oh well, it is after all "show business"

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