Latest
How Much Should I Charge for a Gig?
As a musician, you may have heard phrases thrown around such as: ‘that’s a standard fee’; or ‘oh, it’s below MU rates’; or the classic ‘did I charge enough?’ One of the biggest questions musicians ask is, “How much should I charge for a gig?”
The truth is, NO ONE knows how much to charge for a gig. The rates of pay have fluctuated greatly since music’s inception, even more so since the Internet. There are several things that affect how much musicians can charge, some things are within the musician’s control, others are out of our control. The situations outside of our control can sometimes have a knock on effect to what you charge.
Here are a few examples of Unions to look at to get an idea of what they charge. In the UK, The Musicians Union (www.musiciansunion.org.uk) have their own set of rates. Then you have unions for worldwide www.fim-musicians.org and America www.afm.org. As good as all this is, these unions are still independent to their territories, and are used as an indicator, not a rule. They are also not linked, so they have their own individual arrangements to determine charge rates. I could say the rates are fair, but then what are my grounds based on?
The best advice I was given, was ‘start at a million pounds and then haggle your way down to expenses’. As ridiculous as this sounds, the theory is in essence, totally true. We SHOULD (in our own eyes at least) be worth at least £1 million. Unfortunately, budgets don’t always agree and usually, neither does the band or musician’s promo. You have to find a compromise.
There are SO MANY different types of gigs, of all levels, sizes and budgets. And ultimately it comes down to the money available. Along with this, there are so many things you can do as a musician to increase this and your self-worth.
You need to be comfortable with what you are being paid. My advice is: if you do not like the fee, don’t take the gig. We all know it WILL (99% of the time) be filled by SOMEONE (whether the quality is compromised or not) and that’s ok. There is nothing worse than having a musician take a gig for a low fee and then spend the whole time bitching about it. Treat every gig like you’re on top money – be professional. This job is not your normal 9-5 and regardless of how much fun we may have, it is still a job; something the majority of Joe Public are not aware of. You may doubt your worth by being surrounded by ignorant attitudes – never underestimate your location. Worth is all about perception. Just because you change your strings every gig, doesn’t mean your self-worth goes up…
If you are unhappy with the prices, you need to show clients why they should be paying more. I find this is a lot easier to see in bands. However, for individual musicians, online promo, videos, jam nights and solo projects are all great ways to ‘add more strings to your bow’ (just be wary as they may want a single strung bow). With bands, one great way to increase your value is to simply increase your production. If you see an act getting lots of gigs for $1000 (for example) and think you deserve to be paid more and can do better, you will need to put the effort in to show potential clients why they should pay more and not just book another band. It takes time to change perception. There will still be instances when clients will go for the cheaper option. However, I do believe if you stick to your guns the only gigs you will be offered are those in the price band you want. Caving in to lower prices will mean that YOU WILL play for lower prices, and the same artists will offer you the same wage (not all the time, there are some who do stick to their word of ‘when the pay goes up, so will yours’). It’s all starting to become a game of poker, reading people and calling bluffs.
We live in a world where every person with a camera phone is a photographer, everyone who has a friend with said camera phone is a model, and every other person makes the ‘yeah but I can play triangle’ joke. There are numerous open forums on social media calling for last minute musicians and deps, opening up the market to players of all levels and experience that take fees of all kinds. Every gig is different, and it’s up to you whether you think you are compromising your worth by doing these other gigs or whether the potential networking, meeting and playing with other people would be beneficial. If you want to go only go for £500 a gig, only go out for £500 a gig.
So we have a mix of aspiring professionals, professionals, semi-pros, and wannabes. This in itself can make what you think your worth is fluctuate. If you are regularly playing gigs with people that work a 9-5, they are going to have a different attitude to those that work freelance or have chosen this as a full-time profession. Some people might spend more on their gear and maintenance & rehearsals. Different lives, different values. If you are playing a lot of pub shows, to crowds that just want to be entertained, they aren’t going to care about your cool re-harm pattern or the fact the singer just missed the cue and you start the verse 4 bars later than usual. In the same way, if you are on a touring production, you are constantly with like-minded people, all with one task and job in mind. This combined with everyone in the venue working towards one goal (the gig) and then crowds coming to sing along to your songs. That is also going to have an effect on how valuable you think you are. I think a great attribute every player should have, is to adapt to the present playing situation. It can be quite the culture shock going from a long tour, then into pub gigs, or visa versa.
We are constantly mixing with musicians of all levels of training and backgrounds – from PhDs to self taught. In most cases, competing with them for gigs for both booking bands and individual musicians. This can leave our sense of perception warped, which easily happens, and is often not too easy to spot.
We all get it wrong at times, we will sometimes over or under charge for a gig, and the important thing is to suck it up and not sulk about it. Learn from your mistakes instead of repeating them. It’s OK to make mistakes, but one thing that makes us feel better about it, is the self-knowing that you are content with what you’re doing and what the price is and for how much time spent. Constant self doubt comes with the territory, and it can be controlled. If you are on the gig, and it doesn’t feel worth it, don’t do it again. Lessons will be repeated until learned.
So, if you came to this article looking for a definitive answer, a price list or some sort of per year calculation, I am sorry (well I’m not reeeeallly) but that is beyond anyone’s knowledge. And that goes for any artistic lifestyle. Failing all of that, if you are still in doubt and unhappy, every time you get a gig, just match up the time from leaving your house, to getting back in. Calculate how much would you get for minimum wage, and see which is better, bearing in mind, you don’t get paid to travel to most jobs.
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
FEATURED @jermsbass @ramabass.ok @adamovicbasses @mgbassguitars @marleaux_bassguitars @overwaterbasses @mauriziouberbasses @elrickbasses @zemaitisguitars @sandbergguitars
Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
