Double Bass How much do various gigs pay?

[JazznFunk]

Touring Bands: Guess that depends on how someone views -Touring?Some slate a band playing their local bar scene as Touring. OK, that's what you think, good on you. I toured a 3+ state area when I was a bunch younger. I loved every minute of it till it took its toll. A bus full of farting/ burping guys, no sleep, long bus rides, fast food, some flea bag motels etc, was part of it: There was more but it usually got overlooked. After 3 years I wasn't feeling too good. After I left I found out I was severely anemic. I hated to leave but I opted out before I fell over.

'The road' for beginning professional bands, even on a regional scale, is nothing more than playing for the same (or less) crappy pay hours from home, going in the hole for expenses and lodging. I suffered through that for almost 2 years with one of my prior bands and despised every minute of it except for the playing part. Honestly, the push to be on the road hurt the band's presence and following locally, where we were riding a wave of bigger bookings and consistent pay days after 5-6 years of work. I always lost money on the road, and lost even more because I wasn't working my regular job enough to keep up financially.

 

[hennessybass]

My favorite thing these days is going to my local neighborhood jams on the week nights, and playing a 20 min set. Zero pay with great tunes and a great hang.

I usually get paid $100 for a bar band type gig.

 

[rickwolff]

Where you live and the type of band you're in makes a huge difference here.

For jazz gigs in Louisville, KY $100-150 a person is pretty typical. Sometimes it's more and sometimes it's less, I still see $75/man gigs happening. Everyone charges more for weddings and events around the KY Derby. I'm priveleged, like a few others here, to not really need gig money but I think it's really important to not take less money because that devalues the arts for fellow musicians who do need the money.

That's a very noble sentiment, but I don't really think 'amateurs playing for less' is what is causing the problem. I believe that ultimately it's about what society values and what it doesn't.

It's not just about jazz, or club dates, either.

Here is an interesting article about the dire straights many long-established symphony orchestras are in. Spoiler alert: 1. Declining Ticket Sales (white haired Classical Musician Audiences are dying off, and 2. Declining charitable donations.

11 worst-hit US orchestras - Slippedisc

And while we’re compiling charts, here’s one from...

slippedisc.com

 

[Wasnex]

A hobbyist takes whatever is offered as they do the job more for the pleasure of playing than for profit. The may have some sort of minimum pay standard. A professional will tend to have multiple incomes streams. They may teach, give private lessons, be member of the local symphony, etc. They may also do a range of gigs on the side. My impression is this can be a pretty hard life and it may be necessary to take gigs that are really beneath you.

FYI, I become a full-time military musician around 1990. So I received military pay and benefits. We also were paid per-diem to cover costs associated with travel. I was well-suited to this type of work and made it my career.

In the 90s also I did some bar gigs and would get $50 or so. Between gas and stopping at Denny's on the way home it was a bust, but I had fun; so I was happy for the experience. For awhile I played for free in a community orchestra, but I was really frustrated by the slow pace of rehearsals. I gave notice and they offered me a $100 honorarium to stay with the agreement that I only needed to attend dress rehearsals and concerts. I played an additional concert series or two and gave notice. For me the juice was not worth the squeeze.

Over the years I have also done some pit orchestra work. I did some for free and some for fairly low pay. When paid, you normally get a certain amount for gig and 1/2 the amount for rehearsals. Even though the pay is low, you usually wind up making a bit of profit because you get paid for multiple services. I found this type of work usually became tedious for me and it was difficult to maintain attention during the many breaks were the actors or narrators were doing their thing and the music was either silent or static. Most of the musicals I played were not technically challenging. Each would normally have one or two show stoppers that could be enjoyable, but the rest of the music tended to be tedious/boring.

In the early 2000s I think I got something like $75 for background gigs up to 2 hours. I believe pay was more like $175 for longer gigs where we played background and also dance music. For context, the band was what I call a corporate band that gigged mostly in event centers for private parties and weddings. The gigs were pretty similar to what I did in the military. Musicians were hired on a gig to gig basis, so every gig tended to have a few different players. I think I was bandleaders C call as I had to turn down gigs frequently due to military commitments. At this point I was a bit more focused on the pay and the figures in this paragraph were inline with my minimums. I sometimes worked in other bands for less as a sub in order to help a peer who had gotten a better gig. The motivation to do sub work was professional courtesy rather than profit.

 

[Ed S]

Thanks for all the answers, guys. Even those of you from the darkside! Without being too specific, I'd appreciate if you would give a tad more general info as to location and gig environment.

This gig last night was very much of a "concert." $1500 to cover 5 musicians for a 2 hour set - plus at least 1.5 hr travel per band member, and to cover the cost of event staff just struck me as awfully meagre. I wonder how the musicians viewed it? I see that they are relatively active at breweries and casinos in their home state. And I assume none of them is viewing this band as a full-time job.

I'm a complete amateur, and could imagine driving an hour or 2 for a really fun gig. Even better if my gas money was covered. But I have a quite well paid profession. The leader of this group had played with some of the biggest names around. And his band members had attended music schools and had considerable chops. Quite a few levels above my amateurishness.

 

[BigJohnAZ]

Variably...

 

[JazznFunk]

Thanks for all the answers, guys. Even those of you from the darkside! Without being too specific, I'd appreciate if you would give a tad more general info as to location and gig environment.

This gig last night was very much of a "concert." $1500 to cover 5 musicians for a 2 hour set - plus at least 1.5 hr travel per band member, and to cover the cost of event staff just struck me as awfully meagre. I wonder how the musicians viewed it? I see that they are relatively active at breweries and casinos in their home state. And I assume none of them is viewing this band as a full-time job.

I'm a complete amateur, and could imagine driving an hour or 2 for a really fun gig. Even better if my gas money was covered. But I have a quite well paid profession. The leader of this group had played with some of the biggest names around. And his band members had attended music schools and had considerable chops. Quite a few levels above my amateurishness.

So the band's only pay for the entire night came from tickets? That's $300 per musician, before taxes, to cover a 2 hour set after driving 1.5 hours? Did the 'event staff' also get paid out of that same $1,500? I can't tell if that's correct or not. If so, the math gets worse for the musicians.

I wouldn't have taken that gig unless there was some other benefit... perhaps this was a 'house concert' done as a favor? I would have been more apt to charge a private event rate if I were that band.

 

[Wasnex]

I don't really think 'amateurs playing for less' is what is causing the problem.

Definitely a part of the problem...but not anything new.

The economic concept of supply and demand definitely applies.

 

[Pocket Dave]

My Fri/Sat Rates:

My cut is usually $150 plus tips playing 3 hour gigs in a acoustic guitar playing BL's 4-piece namesake band. He connects and engages well and we're decent at commanding the stage playing a mix of outlaw country, old R&B and blues. Venues are mostly "B" rooms. Most nights my total take-home is close to $200. Super easy gig.

Some local blues and dive bar bands get $100/ea plus tips. OTOH, I'm subbing with a bluesy guy next week who puts on more of a performance and pay is $150/ea plus tips. Mere gig mentality vs performance approach seems to be the differentiator between minimum wage and next level.

Subbing with a larger function band usually gets me a flat $200-250 cut.

Sun + Weeknight Rates: I won't take even a lightweight rig out of the house for less than $100.

Yeah - I'm aware this is in the DB forum - I don't have a DB/UB, though I sometimes use an EUB if that matters.

 

[Ed S]

So the band's only pay for the entire night came from tickets? That's $300 per musician, before taxes, to cover a 2 hour set after driving 1.5 hours? Did the 'event staff' also get paid out of that same $1,500? I can't tell if that's correct or not. If so, the math gets worse for the musicians.

I wouldn't have taken that gig unless there was some other benefit... perhaps this was a 'house concert' done as a favor? I would have been more apt to charge a private event rate if I were that band.

I really don't know. Neither the business owner nor the band filled me in on the financials. All I know is what I saw - which was 60 seats at $25 per. Just didn't see any other income streams. The business is relatively thriving, and the owner a big supporter of live music, but I don't know tht he is personally going into the hole to support concerts at his building. Maybe the employees were willing to hang around free to view the show and whatever other reason. One of the employees ran sound, another checked in guests, I saw another taking video. I usually think employees ought to get paid...

 

[ole Jason]

That's a very noble sentiment, but I don't really think 'amateurs playing for less' is what is causing the problem. I believe that ultimately it's about what society values and what it doesn't.

It's not just about jazz, or club dates, either.

Here is an interesting article about the dire straights many long-established symphony orchestras are in. Spoiler alert: 1. Declining Ticket Sales (white haired Classical Musician Audiences are dying off, and 2. Declining charitable donations.

11 worst-hit US orchestras - Slippedisc

And while we’re compiling charts, here’s one from...

slippedisc.com

Both things can be true. I've had several friends lose gigs to groups who have approached venues and offered to play for free or very low amounts.

 

[Ed S]

I won't take even a lightweight rig out of the house for less than $100.

I hear ya there!

These guys played quite close to acoustic. I really loved the mix - but that is my personal preference. But no effects, amps, whatever. Played through the room's system. I assume they band supplied their mics, and possibly the 2 small monitors. Other than that, it was just one instrument per picker. Next time there I'll ask what the shop provides as its sound system.

 

[JazznFunk]

Both things can be true. I've had several friends lose gigs to groups who have approached venues and offered to play for free or very low amounts.

If a 'venue' gave the boot to a previously booked band just because another band offered to play for free or barely nothing, that's a 'venue' that doesn't value live music on any level IMO. It would be a 'venue' that was crossed off my list until a verifiable 'change in the format' is made to ensure live musicians are paid equally, consistently.

 

[mikeGJ]

“Not much”

 

[Solipsistik]

All of this! The unfortunate part is that the 'going rate' doesn't mean the same thing to everyone.... and the undercutters are rampant across many scenes.

One of the bands I've played in for years had a habit of signing up for free events.

I had to make the point of not showing up for one because my input went unheeded. So I unheeded the event. Oh, I told them, they thought I was kidding or wouldn't follow through.

Free events just devalue your brand. I'll only do one for a real charity.

 

[LordRyan]

Since I moved to the South most gigs here pay somewhat less than I was making in the NJ/NYC area. The tradeoff is I'm not driving long distances or staying out late in most cases. Many of my current gigs are less than a mile away and I get $175 for playing two hours on a weekday afternoon. Other close by gigs pay less but I only play an hour. This week I did two long distance gigs six hours away in southern Florida. For these I get $400 per night with all expenses covered.

 

[PaulAtSoCalBass]

Paid?? People get paid??

Pretty much only play for fun at non-profit gigs or maybe a friend's anniversary party. Even then it's not unusual for us to get $300-500. If it's a fundraiser we tend to donate it, if not we put it towards band gear.

 

[matthewbrown]

A hobbyist takes whatever is offered as they do the job more for the pleasure of playing than for profit. The may have some sort of minimum pay standard. A professional will tend to have multiple incomes streams. They may teach, give private lessons, be member of the local symphony, etc. They may also do a range of gigs on the side. My impression is this can be a pretty hard life and it may be necessary to take gigs that are really beneath you.

FYI, I become a full-time military musician around 1990. So I received military pay and benefits. We also were paid per-diem to cover costs associated with travel. I was well-suited to this type of work and made it my career.

In the 90s also I did some bar gigs and would get $50 or so. Between gas and stopping at Denny's on the way home it was a bust, but I had fun; so I was happy for the experience. For awhile I played for free in a community orchestra, but I was really frustrated by the slow pace of rehearsals. I gave notice and they offered me a $100 honorarium to stay with the agreement that I only needed to attend dress rehearsals and concerts. I played an additional concert series or two and gave notice. For me the juice was not worth the squeeze.

Over the years I have also done some pit orchestra work. I did some for free and some for fairly low pay. When paid, you normally get a certain amount for gig and 1/2 the amount for rehearsals. Even though the pay is low, you usually wind up making a bit of profit because you get paid for multiple services. I found this type of work usually became tedious for me and it was difficult to maintain attention during the many breaks were the actors or narrators were doing their thing and the music was either silent or static. Most of the musicals I played were not technically challenging. Each would normally have one or two show stoppers that could be enjoyable, but the rest of the music tended to be tedious/boring.

In the early 2000s I think I got something like $75 for background gigs up to 2 hours. I believe pay was more like $175 for longer gigs where we played background and also dance music. For context, the band was what I call a corporate band that gigged mostly in event centers for private parties and weddings. The gigs were pretty similar to what I did in the military. Musicians were hired on a gig to gig basis, so every gig tended to have a few different players. I think I was bandleaders C call as I had to turn down gigs frequently due to military commitments. At this point I was a bit more focused on the pay and the figures in this paragraph were inline with my minimums. I sometimes worked in other bands for less as a sub in order to help a peer who had gotten a better gig. The motivation to do sub work was professional courtesy rather than profit.

I started working in pit bands as a regular thing in the last couple of years. Most of the theater in my area is community theater, which doesn't pay well, but I view a commitment of 16 paid gigs/rehearsals for $1250 as worth my time. I don't have to hustle up more gigs, I don't have to haul equipment in and out each night, and I'm helping out the community. Some of the work I get is with professional regional theater companies, and those pay better, usually $150 per night and $75 per rehearsal. Those rates seem typical for my area, based on the posts I see for pit musicians on FB.

I've been lucky, because many of the shows I've played were challenging, with varied, interesting music.

 

[brianrost]

what pays better - bars, concerts, festivals, private parties...?

Festivals and private parties are always the best paying unless you're in a serious touring act. Here in the Boston area, a lot of bars pay only $100-150 for an entire band. Some pay as much as $500 but I have never played in a bar that paid the band more than that, so the tip jar is super important.

There’s a local jazz trio of full time pros that has a monthly residency in Worcester, MA (40 miles from Boston) that gets $100 from the bar plus the tip jar. They have guests regularly sitting in for the entire night, I have no idea if they share any of the money with them, but there’s usually three or four players in addition to the trio.

If I drive to Boston to play, it’s at least a 60 mile roundtrip plus tolls. That comes to about $40 travel expense per IRS rates. If I’m in a trio and the total take including tips is less than $120 I’m already losing money. I play a number of gigs that are more than 60 mile roundtrips, one I do four or five times a year is 120 miles roundtrip, my travel expense is about $80 and I my take is $125 from the room plus tips, so most times about $150. I very rarely play gigs where my net after expenses is $100 or more.

For about 8 years I was in a retro country band playing upright where our minimum was $200 per player, I think I got $400 for a couple of weddings. We played festivals, museums, outdoors in parks, dance events but no bars. When the financial crash of 2008 came, we had a hard time getting the same amount of money. We stopped using a soundperson who got an equal cut and I became the soundperson dragging my own PA around. I got two cuts, so I was still getting at least $200 but doing more work for the same money. Most the jobs we did required long drives without carpooling, some were 200 miles or more roundtrip so my net wasn’t much better than playing local gigs for a lower gross.

Although some bandmates have been full-time pros, I have never been one. I always held a day job because I couldn’t afford not to.

 

[Ketbass]

If it’s a jazz gig with DB, I like to get paid at least $100.00. It’s a pain in the rump(and lower back) to haul that thing around; set up, clean up and depending on the size of the gig, even a place to stand. I’ve recently made my EUB sound pretty darn close to my plugged in upright, so that’s my go to now for anything under a hundred bucks. In another band I’m in, the drummer won’t even think about it unless there’s 150 or better per person, so we pretty much stick to festivals, art shows and paying fundraisers.