Admirable enthusiasm. Wouldn't want to dampen it. But I guess, some triggers for the mind wouldn't hurt.
1) Gigs come in various scale. Perhaps it is useful to draw a common imagination of this gig that you're visioning. the simplest could be put up by pulling equipment from fellow participant bands, get a venue, settle all the licensing and there you have it... a gig. However, if the imagination of a gig is a 500 pax crowd and all the pomp, other concerns will come in such as how do you attract the crowd if the central feature of the gig are new bands? If you're interlacing the flow with more established bands, when will the new bands feature? How to sustain the interest of the crowd when the new bands are playing (and not go for long smoke, toilet and other breaks meanwhile)?
2) The early phase of this interest build up, it did look like an anti exploitative capitalism move, that it to overthrow and crush the whole idea of Pay to Play gigs (although it was from a sole bad experience). However, I wish to highlight that very early in this thread, this idea of 'Rock Unity' has quickly been 'patented' as a sub-company. This is pretty strange as there are many contributors to the grand idea, finally, it will all reside and owned by a proprietor. thinking aloud... what if a planned gig, ticketed and all loses money...? the company stands to face the music. but what if the gig earns money? the company stands to gain... alone? what difference then is this idea with the many events production companies that are running and organising gigs round the year?
Parallel thinking... generally, for entertainment's sake, people spend money going to karaoke lounges just to sing. Bands spend money to jam... Is paying for mass jamming (a p2p gig) such a bad idea? Where were the shortcomings of the various P2P gigs? Could it be due to mismatch of expectations on the imagination of the gig between the organisers and the participating bands (i.e. bands after selling 20 tickets expect 200 pax turnout - from ten bands playing but see only the 20 persons they sold the tickets to in the audience when it is their turn to play cos the other 180 paying audience were out on smoke, toilet and any other matters break. - which incidentally can also happen to Free to Play gigs.)
3) If exposure is a concern, have you considered other measures/ approaches apart from gigs? One that I could think of is small scale gigs but solid sound engineering and live recording... and have them posted on youtube in a single channel... (no you can't patent this idea with the company as it is not new and has been done before
![Wink ;) ;)](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
... The channel currently is on facebook managed by all)
http://www.youtube.com/watch?v=lW8jqMyZyag&feature=channel << here is a glimpse of one.
http://www.youtube.com/watch?v=fNDwAjDSiCc << another one but unintentional video. Both are FOC gigs, no money collected, negligible money spent... contributions in kind (equipment, manpower, logistics, transportation, administration & even venue) -Priceless!
4) Seriously, the spirit is good, but until you've clarified the errors and irritants of the gigs and gig organisers that you can't stand, regardless of all the good intentions, you may end up making the same mistakes.
That's it... signing off for now to continue observing
p.s. zamir... guitars alone don't make the rock culture... where're the double pedals?