Just bought some EV PXM - 12MP’s

My PXM-12MP came this morning early (three days early, in fact) Luckily it did come in the morning, because I had a standing plan for the day, and wouldn't be able to wait for it.
I had time to do a quick unboxing video, and a couple of minutes connected to the FM9. I didn't have time to read the manual then, but I am now.
I set it to Monitor 2, but made no other adjustments. It felt a bit stiff when playing, like breaking in the speaker would help...and it seemed like the highs and lows were both up more than I liked. Are people using the resident eq...or just running it at the default Monitor 2 (or 1) settings?
I have the same situation Sunday that I did today...having to be somewhere at noon, so I won't be able to do much with it tomorrow.
We'll see how things sound with the input levels and/or eq adjusted (if necessary). It certainly seems to have plenty of power.
 
Sigh, I've been waiting to gig some DynaCab edits I've been working on. I was supposed to have 4 gigs over the past week, but every single one of them cancelled for various reasons. 3, including today's gig, were cancelled due to rain. Pay is the same, but I really wanted to crank things at stage volume. Next gig is Friday, and it's outdoors. Fingers crossed.
 
BCy2k said:
Sigh, I've been waiting to gig some DynaCab edits I've been working on. I was supposed to have 4 gigs over the past week, but every single one of them cancelled for various reasons. 3, including today's gig, were cancelled due to rain. Pay is the same, but I really wanted to crank things at stage volume. Next gig is Friday, and it's outdoors. Fingers crossed.
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Bummer about not making it to the stage this weekend but you've made me realize I need to set my sights higher and find a way to get on this paid without playing circuit ;)
 
I've never been in a pay to play scenario. I've spoken with other players who have been and it doesn't sound like my cup-o-tea at all. Is that still a thing, and if so where?
 
I'd bet there's still a few out there. The Sunset Strip in LA used to be well known for them.

There are still venues that have clauses in their contract where the band doesn't get paid until over a set number of tickets is sold. You definitely want to read the fine print. I have seen clubs where they provide sound and collect at the door, but also have a deal where until enough tickets are sold to cover whatever they consider their costs to be for these services, they don't pay the band. Not quite as bad as pay to play but either of these types of contract/deal can still result in the band leaving after a performance empty-handed.
 
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playmusic said:
I'd bet there's still a few out there. The Sunset Strip in LA used to be well known for them.

There are still venues that have clauses in their contract where the band doesn't get paid until over a set number of tickets is sold. You definitely want to read the fine print. I have seen clubs where they provide sound and collect at the door, but also have a deal where until enough tickets are sold to cover whatever they consider their costs to be for these services, they don't pay the band. Not quite as bad as pay to play but either of these types of contract/deal can still result in the band leaving after a performance empty-handed.
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Back in the late '80s / early '90s, the clubs in the San Francisco bay area that booked (primarily) hard rock and metal, most used a scheme like this:

Band is booked and pays $300 up front for 100 tickets.

Ticket face value is maybe $8-10.

If your band can sell 30-40 tickets, you've broken even and maybe made a small profit. If not, you've paid to play :)

Now multiply that by 4+ bands, tickets sold at the door and drinks/food and the club is making good money.

Sometimes you might get a cut of the door and/or bar IF you sold more than X tickets.
 
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