I find this to be a specious chicken and egg argument. When I got back into working with bands 5 years ago I too was working in the bars. We bought good gear (the bits and pieces add up, the speakers are one small part). A small bar rig is 15k. A larger rig with 4 - 18's and three way tops is 20k. They went out for $350 and $500 respectively which is way cheap. It's below cost to keep it in service, be insured and transport it to the venue. But it didn't matter, we were working. Some nights the bands went into their pockets to pay us. You never know if someone is going to hire you for a wedding or a 3k gig. Bands with shitty PA's, drinking on stage, disheveled in appearance don't make money. Most people don't know a great band from a good well practiced band. You can make more money but you must conduct yourself in a professional manner in all circumstances.
Today the few bands that are clients book corporate and private events and help us push our portfolio of staging, drapery, uplighting and other goodies. We are integral partners to these acts success and are treated as such. We have a voice in band meetings and have earned the implicit trust of these hard working artists. If you don't want to work like that then we pass and that's ok. There are plenty of trunk slammer sound guys who will pitch a pile of trash for $250 and get drunk and be ok with that.
While we provide sound our job is to protect our artists. No matter what we have to do to make sure that the integrity of the act is preserved. This entails making sure the venue takes care of the artist and they are comfortable.
Many other acts are surprised that our acts can earn $1500-2000 in a bar and pay $500+ for production, which is still inexpensive but we take it into the larger picture of the relationship.
Relationships rather than transactions is what we value.
You can be this band, just step up.
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The above is one of the best written responses to a thread I have seen in a while:)
FWIW: I have walked the line as a performer and (very) local sound provider for the past two decades.
I actually got into providing sound due to the fact that there were some local so-called sound techs in my area that were nothing more than failed musicians with a pile of gear...
All of the above advise (volumes of it) are, for the most part, spot on.
Does your band want to get to the next level?? Really, if your band mates are unwilling to "pony up" to hire a sound man to up your game, you guys are doomed...
You must be using some sort of PA for rehearsing...right? I would start there.
Get some decent monitors and buy them used....
If you are patient there are some great deals on craigslist for QSC K12's as QSC users are hopping over to the K12.2 series... You just have to be patient and look around.
BTW: the months of Sept/Oct/Nov are the best months to purchase used gear (in my area anyway).
I would look at building a monitor rig first....
There is a local provider in area that uses Berhinger powered cabs as monitors and he swears by them....I have played through them and he makes them work..and well too.
Bands these days also need to think about lights....a PA alone does not cut it for production these days...even at the bar level. People will listen with their eyes!
All of the above being said, hire production (even if you have to play just to pay the tech), be polished, up your game, and the better paying gigs will follow...
If you have a good product, better playing gigs will come...
