First Part:
1. When it comes to studio work, or just work in general, how much does the saying "Its not what you know. Its who you know" apply? I've always been taught from a young age that you have to know the right people to where you want to be. I do see some truth in this, but I've never been the type to kiss a$$ or brown nose to get where I want to be. Either I get there based on my merits or I work harder. Any thought/opinions on this subject?

Second Part:
2. Is sending "musical resumes" to local studios for being an availble bassist an acceptable way to get work and is it reliable (or would the resume end up in the trashcan before its even looked at?)? I've been considering getting a demo together with several different styles (on both electric and upright) and getting my resume back together to send out to studios if they are in need for a session bassist. When it comes to playing, reading music is my strongest point. If this is an acceptable way of finding studio work, what do studios like to see/hear on the resumes? I'm not looking at getting on some huge label recordings. Just want to do some local to basically build up my resume.

My gut feeling is that a producer wants to hire someone he knows in person and has actually seen him play. I don't think a piece of paper and a CD is going to have any impact whatsoever.

Just my feeling though, I could be wrong. Janek, set me straight. :P

Get a website and a myspace, and then send demo tapes and generally get your name around, would create some interest in you. For some producers to try you on the 'lesser' projects.

Also knowing someone is an easy way in, so play gigs and other things, and make sure potential clients come to see you.

Bobby,

It's mostly to do with who you know when it comes to getting a studio gig. I don't know a producer in the world that will hire someone for a session just from a demo tape. So you're probably better off spending your time getting out and meeting people in that scene, rather than putting demo reals together.

Clockworkwar mentioned getting a myspace page. I have had some work through my page. I've been hired to play sessions, gigs, and produce some records. But then I did put in a huge amount of time creating a network. I have over 20,000 people on my page right now, and it's growing continuously. And the reason I got work through it was because I had paid some dues already somewhere, and some cats saw and heard that on the page, and made the connection.

And another thing to consider is this. More recently (since 9/11) the recording scene in general stepped back a notch. This was not only due to a global drop in records sales, but also that everyone can produce music in their home studios these days, and that big sessions with lots of great musicians are few and far between. I have noticed a slight return of real sessions, but it's been very gradual, and I'm not sure if it will ever be like it was back in the 70's and 80's again.

I guess we'll soon find out.

Easy,

Janek

You have to knock on a lot of doors, network, take advantage of playing opportunities so that when it comes time for the "need" your name is amongst the names that people think about and will feel good about suggesting. "We need a reader, call Bobby", "We need a cool guy that can read like a mo-fo, call Bobby" You have to be hungry and a part of the scene as Janek has already said.