Philly bassist seeks sessions

[gregoryisrael]

Hello!

I am a 27-year old bassist from the Philadelphia/South Jersey region and I am trying to find my way into the studio/session scene. I don't know the first place to seek out this kind of work, so I ask: how do I break into the session scene?

Here is a little bit about myself:
I picked up the bass at age 13, and taught myself to play by ear. I learned harmonic theory in highschool and college, though I do not fluently sightread; I still rely heavily on listening and feeling the music rather than reading. I am currently in an original band (Sounds from Atlantis), and I have consistently played in original rock bands since age 16.

As much of a pleasure it is to write, record, and perform original music that I love, let's face it: it doesn't pay well and the experience can be limiting. I've always admired bassists like Pino Palladino for being "first call" session bassists, but can also hold their own in a band situation. These are the kind of musicians who can "roll with the punches" and keep working no matter what. I feel that I have what it takes to fill a role such as this (assuming this isn't some fantastic pipe dream of mine). I want to be able to play a diverse range of music (whether I like it or not) and establish a better place in the industry in doing so.

I do have a full-time day job (hospital worker). Between that and the band, my time IS somewhat limited, so I'd have to take gigs at my own leisure for now. I have pro gear and reliable transportation, so those are not hurdles of mine. Were I to experience good fortune in this facet of the industry, I would want this to be my "day job".

So, to somebody who might actively do sessions? Any suggestions? Also, where else on TalkBass should I post this thread?!?

THANK YOU, in advance.

-Gregory-

[adamnitti]

hi gregory-

welcome to the forum. i can certainly appreciate your desire to get into the studio session world. that is one of the environments i enjoy working in the most!

unfortunately, there are a lot of players that are qualified to work in these situations, but not an equal number of opportunities necessarily, depending on where you live. the more recent economical downturn that has plagued the music industry has also had its effects on the session scene. there is less money to pass around for album projects and often times you'll see producers playing more instruments themselves, or compromising on the level of certain players so they can stay on budget and protect their take on the project. also, the session world is a very competitive one, as you might have already guessed. lots of great players that are already plugged in who are not going anywhere. the cats that have worked their way into 1st call/fixture status have in most cases been doing this for a couple decades, and rarely turn down sessions or refer them out. you are also dealing with the 'if it ain't broke, don't fix it' perspective that most producers have. if a producer has found a bass player that they are comfortable working with and know exactly what to expect from them in a performance recording setting, rarely will they make a change just for the sake of trying someone new. in the world of recording master sessions, time is money and deadlines are fixed, and a producer is not going to gamble trying out a new player if he/she doesn't know what to expect from them in that environment. of course, not every session is a master session. there are a lot of players out there that are making most of their session income from demos and custom projects, etc... i actually do just as many remote sessions these days as i do live sessions. remote sessions are where an artist or producer will send you track stems or a 2 mix for you to put your bass tracks to. it's a great way to work because you have the luxury of taking your time and being able to experiment with different tones, approaches, etc... most of my remote sessions are for custom projects and independent albums, but there are some occasions in which a producer will put together tracks remotely for a master for a larger project on a major label, etc. as for advice, the most important thing for you is to have your craft together first and foremost. that means having your playing down, your tones together, your reading together, and your hang-factor together. in other words, be ready for any type of recording situation and above all else, make a great impression on folks personally. befriend bass players that are already in the session scene. let them know what your goals are and cultivate real relationships with them... not just pretentious coffee house meetings in which you ask them how they can help you out. if you can play, and if you network like this and build friendships, before long there will come a situation in which someone won't be able to be on a session and they will refer you. it is going to take some patience on your part, but you are going to better your chances at success if you stay immersed in that world as much as you can. speaking of networking and friendships, don't just target bass players. get to know the session guitarists and drummers, too, and ESPECIALLY the engineers. you'll discover that there are a lot of engineers moonlighting as producers on their own side projects and they need great players for their tracks. if you break in with someone like that before they become more well-known or busy, you can have your foot in the door already and be a 1st call cat for them as they work their way up the ladder.

i hope this helps. all the best to you as you continue to pursue your goals!

[gregoryisrael]

I certainly think it will help. I have to admit it can seem like a scary world with the economy and competition, but who ever got anywhere riding the wave of fear?

Thank you, Adam.

[adamnitti]

Originally Posted by gregoryisrael

I certainly think it will help. I have to admit it can seem like a scary world with the economy and competition, but who ever got anywhere riding the wave of fear?

Thank you, Adam.

that's right, brother! i sincerely hope my post didn't paint a dark picture for you... i just felt obliged to share my experiences with you with as realistic a perspective as i could, but i hope you will be encouraged by my feedback and push forward with determination. have fun!

[engedi1]

Interesting post Adam, especially regarding remote sessions. I wouldn't have guessed that was as prevalent as you describe. It does make sense though, as long as you have great recording equipment at home. What kind of cash outlay would you imagine a bass player needs to have to have a decent home studio, that could do the high level work you are describing?

[adamnitti]

Originally Posted by engedi1

Interesting post Adam, especially regarding remote sessions. I wouldn't have guessed that was as prevalent as you describe. It does make sense though, as long as you have great recording equipment at home. What kind of cash outlay would you imagine a bass player needs to have to have a decent home studio, that could do the high level work you are describing?

honestly, it doesn't take too much. if you are just going to be recording direct signals, the main things you need to get started are decent recording software, such as pro-tools/logic/cubase, etc, a good audio interface, a high quality bass pre-amp/d.i. combination, and possibly a good compressor. of course, you have to have a good-sounding and well-setup bass to start with, too. i would guess that $1000 would at least get you started and ready to record. you could spend less, but you really want to make sure that the quality of your audio interface's converters are as good as you can afford.

[engedi1]

Adam, you left out one thing: A good computer that can handle the rigors of recording! My current computer was pretty hot 7 years ago when I bought it, but it really can't handle the challenges recording software put on computer. SIGH, to the above, I'll add another $1000 or so to upgrade the old computer! Do you record to a Mac, or a PC?

[Captain_Arrrg]

As Adam hinted at, it's all about who you know. Let producers, engineers, musicians and promoters know who you are, what your intentions are and the level of your ability. Who knows what these people will be doing a month from now let alone in six months to a year. The struggling band will be heading into the studio minus a bassist. The up-and coming-producer just finished his studio and is looking for a Pino quality player for a not so Pino price. The possibilities are endless.

DO look into remote sessions though. They are getting more popular by the day, and in my location they are vital... But again, they need to know you first.

[adamnitti]

Originally Posted by engedi1

Adam, you left out one thing: A good computer that can handle the rigors of recording! My current computer was pretty hot 7 years ago when I bought it, but it really can't handle the challenges recording software put on computer. SIGH, to the above, I'll add another $1000 or so to upgrade the old computer! Do you record to a Mac, or a PC?

yes, you are correct, thanks! VERY important, especially if you are using software that relies on your computer' internal muscle as opposed to outboard processing cards or similar. i'm recording on an intel mac.

[FF Petro]

This is why I love this site! Where else can you chat with a famous musician and not only that Adam practically wrote an article to help a fellow bassist out.

Thank you, Adam!

And thanks talkbass.