chuck_king wrote:I've never known a musician, much less a group of musicians, meticulous and anal enough about finances to come up with a truly equitable way to handle the "joint gear" situation. Just about all such situations end up with either (a) someone getting cheated, or (b) someone feeling like they got cheated. The only possible reason for doing it is if it is literally the only way the band can get a P.A. or something similar that it absolutely needs to function. In that case it still won't end well, but I can see making that trade-off in the interest of having a band at all. Obviously, this does not apply to your jazz band, where the drummer has adequate gear.
I know this situation all too well, as many groups have asked me to chip in on stuff that is "money lost" when the group splits. Fact of life, at some point, all bands break up. Usually it is not under good circumstances, and the whining over who gets what can turn real ugly, real quick. Those that want to be cashed out are usually dealing with remaining members who can't make that happen, and the gear gets consigned or pawned, and everybody takes a big loss that just adds to the tension. This is a very good way to kill friendships that may have been life long.
As a musician, what did you pay to be able to be in a band? 1 or more very good guitars, a nice amp, some effects,cables, strap, mic, stands, etc. Let's just say you come to the table with 3 grand worth of gear if you added it all up. Bass players and keyboard players more or less, depending on what they have, and any kind of good drum set and cymbals is going to run you $1,500 on up for an "ok" one. I highly advise every player buy themselves a powered monitor so they can have full control over their sound level on stage. Even some really big stages don't have enough monitors to go around, and needing only a passive signal line to make it work, they can be a lifesaver. Also, being powered, the put no strain on your PA power wise. Another plus of having these is that you can use them at coffee house gigs as a mini PA to sing and run your instrument through. There are lots of things you can use these for.
Singers, who may or may not even own their own microphone, see all of your good gear, and start spending your money on what their vision is. All of the sudden, you're bothered about chipping in for a PA and lights, and whatever whims this individual has on how to make you the "next big thing." The musicians who spent the money on their pro gear, seem to forget that this person has come to the table with nothing more than a voice and a lot of ideas how to seperate you from money you will never see again. The whole thing is a shame, in my opinion, because it happens everyday in too many groups.
Singers, need to have a PA, at least an 8 channel box head(min 450 watts) and 2 15" cabs with horns. You can get high quality set ups like this for under $1,500 new, and less used. This will enable you to rehease comfortably, and play any gigs short of a really big club that 300 screaming drunks will be at. These places almost always have their own sound systems, and sound guy. Right before you go on, buy the sound guy a drink and you'll have the best sound of the night.
The singer should also have a tree or 2 of lights. Par 64s aren't necessary, but you can easily talk the singer in to buying some, as they are the"star". Singers also need to be employed, and have a car, hopefully one that can move their gear around.
Just to put this in to perspective, a new PA, cabling, a Shure 58, and 2 light trees with controller, will cost the singer less than a Rick 360/12, Les Paul, good custom shop Strat, most high end basses, various industry standard amplifiers, or something comparable to a DW 5 piece kit with cymbals of equal quality and even cheap gig bag covers to haul them in.
Singers get away with murder, and they shouldn't. You worked hard, put in the time, and put up the dough for your gear, so why shouldn't they?
Of course, if you are actually doing paid gigs, split the money one more way, and make that the band fund. This is something that can come in handy in a variety of situations, including getting new gear should you get more popular and find you need it. Also, merchandise and product(CDs) need to be paid for somehow, and the band fund is the best way to not feel the hit on that one.
As far as electronic drums go for a jazz band, isn't that like using bright pink BC Rich guitars? While fine instruments, who's gonna really take you seriously? Miking a drum kit in a small venue only robs the bass of its precious low end character, and the guitar of its high end clarity. Bigger stages with pro sound people know how to translate this to the audience properly, but this is negative overkill in a small clubs. The attraction of hearing jazz live is the intimacy of it. It's not like blasting out AC-DC covers at a sports bar, you don't need to cut over the top of screaming drunks. Any jazz drummer worth their salt knows about how dynamics affect the groove, and sheer volume is what will ruin a fluid interplay. Since you aren't going to be playing volumes that are not much louder than talking level, all instrumentation should be able to be heard with the upmost of clarity. If your singer complains they can't hear everything perfectly, have them see a doctor for an earwax removal treatment.