proffesional player

markk661 · #1 10-22-2010, 02:06 PM

i am wondering what are some of the first steps to becoming a proffesional bass playernot like a single band but somebody that people would look to for bass parts for,. basically,like a ,studio player,recordings, commercials ,gigs of this nature, i have good feeling and can listen and pick up on alot of different material ....but i can not read music at all i would think that would be a reqiurement for any other type of gig. any input would be greatly appreciated thanks everybody...i would love to put my passion to work

mambo4 · #2 10-22-2010, 02:17 PM

Professional studio musicians must be able to read anything put in front of them.
Anything less is a waste of your client's time and money.

mpm32 · #3 10-22-2010, 02:20 PM

Learning to spell professional would be a good first step.

capnsandwich · #4 10-22-2010, 02:22 PM

Here are some things that I understand to be necessary: Reading, charting, being able to write their own parts, easy to work with, no ego, ability to play different styles, good timing, good reliable equipment and most of all, be available. You won't get hired if you can't be contacted.

Smokin' Toaster · #5 10-22-2010, 02:50 PM

JEff-fa-fa

http://www.youtube.com/watch?v=bVk1Z...eature=related

markk661 · #6 10-22-2010, 03:02 PM

Quote:

Originally Posted by mpm32

Learning to spell professional would be a good first step.

haha professional hey im on my way so whats the next step

markk661 · #7 10-22-2010, 03:05 PM

Quote:

Originally Posted by capnsandwich

Here are some things that I understand to be necessary: Reading, charting, being able to write their own parts, easy to work with, no ego, ability to play different styles, good timing, good reliable equipment and most of all, be available. You won't get hired if you can't be contacted.

thanks i get what youre sayin i guess what i am trying to say is how do you even begin to get yourself out there and getting contacts

puddin tame · #8 10-22-2010, 03:15 PM

Quote:

Originally Posted by markk661

thanks i get what youre sayin i guess what i am trying to say is how do you even begin to get yourself out there and getting contacts

the first gig(s) are the toughest to get, after that it sort of snowballs if you're a good player

One Bad Monkey · #9 10-22-2010, 07:03 PM

Quote:

Originally Posted by mambo4

Professional studio musicians must be able to read anything put in front of them.
Anything less is a waste of your client's time and money.

A big +1.

You need to realize that when you are a professional musician, playing music is not your hobby; it is your job. As such, the aspects of it need to be treated as such. Show up late to a recording session and find out the hard way that everyone else is taking this seriously except you.

Skitch it! · #10 10-22-2010, 07:29 PM

Regardless of anything, smile a lot and get along ; ) You will have to protract pro or not : )

M0ses · #11 10-22-2010, 07:35 PM

Quote:

Originally Posted by markk661

thanks i get what youre sayin i guess what i am trying to say is how do you even begin to get yourself out there and getting contacts

Duuuuude. Slow down. The point is, you're not going to GET jobs if you don't have the skills. That's how you start. Get the skills. It ain't gonna happen magically. It takes a LOT of hard work.

slybass3000 · #12 10-22-2010, 07:41 PM

+1 for all the above and i will add:

Be reliable !!!!! People count on you to show up in time with the right gear, the right attitude and no stress !

JimmyM · #13 10-22-2010, 10:31 PM

Quote:

Originally Posted by mambo4

Professional studio musicians must be able to read anything put in front of them.
Anything less is a waste of your client's time and money.

not as true as you might think. justin meldal-johnsen doesn't read and he always gets top notch pop/rock session work. of course, he was fortunate that he came up with beck and developed a reputation as a first call studio guy despite not knowing how to read. and he'll be the first to tell you that not being able to read has shut him out of some very lucrative work. just pointing out an example of someone doing it who doesn't read. of course reading is the best route.

otoh, it's incredibly difficult to make a living doing studios anymore. even the top studio guys can't do it anymore and many will go on the road as well because the work just isn't there anymore.

Stick_Player · #14 10-22-2010, 10:47 PM

Quote:

otoh, it's incredibly difficult to make a living doing studios anymore.

Yep, it's a part time gig - if you can even get it.

capnsandwich · #15 10-22-2010, 10:48 PM

Quote:

Originally Posted by markk661

thanks i get what youre sayin i guess what i am trying to say is how do you even begin to get yourself out there and getting contacts

Every one has their own way of getting contacts. I was lucky enough to be in a band with a guy who owns a studio. He loves me to death and I've been in his studio countless times playing on stuff. It helps to get out there and play in front of people. Go to some blues jams, go to some open mic nights, network, meet people in the music industry around your town, etc.

Another way that almost guarantees work is to go to a music college and get a degree or certificate in music performance. A lot of colleges have job placement programs that will help you get into the field and help you get contacts. I know several players who went to Capital University here in Columbus, Ohio and are on tour and recording with some national acts. I didn't go that route nor am I touring with any national acts but like I said, everyone's got their own way.

slybass3000 · #16 10-24-2010, 04:10 AM

Quote:

Originally Posted by JimmyM

not as true as you might think. justin meldal-johnsen doesn't read and he always gets top notch pop/rock session work. of course, he was fortunate that he came up with beck and developed a reputation as a first call studio guy despite not knowing how to read. and he'll be the first to tell you that not being able to read has shut him out of some very lucrative work. just pointing out an example of someone doing it who doesn't read. of course reading is the best route.

otoh, it's incredibly difficult to make a living doing studios anymore. even the top studio guys can't do it anymore and many will go on the road as well because the work just isn't there anymore.

I think you are messing things up here a little bit. I don't think justin meldal-johnsen is a first call studio player. He is a guy you can call on a project and he will create a great bass part for a song most of the time on his own in studio. This is a great gift to be able to do that but a session player can come in the studio with a fifty pieces band orchestra and read and record at the same time everything that is put in his(her) face and make great music out of it. These are two different fields in my opinion because I did experiment both sides in studio: come up with a hit with the bassline and read everything that was put in my face.

Fergie Fulton · #17 10-24-2010, 08:48 AM

Quote:

Originally Posted by slybass3000

I think you are messing things up here a little bit. I don't think justin meldal-johnsen is a first call studio player. He is a guy you can call on a project and he will create a great bass part for a song most of the time on his own in studio. This is a great gift to be able to do that but a session player can come in the studio with a fifty pieces band orchestra and read and record at the same time everything that is put in his(her) face and make great music out of it. These are two different fields in my opinion because I did experiment both sides in studio: come up with a hit with the bassline and read everything that was put in my face.

+1 and i have to agree. Players who have a producers "ear", in other words work well for him regardless of reading ability will get first look in on his sessions. Some times, as usual in this business, its not what you know, but who you know.

Eminentbass · #18 10-24-2010, 09:34 AM

Quote:

Originally Posted by slybass3000

I think you are messing things up here a little bit. I don't think justin meldal-johnsen is a first call studio player. He is a guy you can call on a project and he will create a great bass part for a song most of the time on his own in studio. This is a great gift to be able to do that but a session player can come in the studio with a fifty pieces band orchestra and read and record at the same time everything that is put in his(her) face and make great music out of it. These are two different fields in my opinion because I did experiment both sides in studio: come up with a hit with the bassline and read everything that was put in my face.

I think I've read in JMJ's section he can read to some degree and has had to on one or two soundtrack dates. To add to your point though, players like Justin and Pino operate in a niche market where they get called because people want their specific sound and style. They and players like them are a fortunate few when you consider the multitude of nameless working musicians who earn a living with a very broad set of skills.