Session/Studio bassists

[Craithius]

I've been eternally curious as to how one would get into it, what credentials are looked for (training, education, experience, etc...).

It's something I'd like to do, however being in Wisconsin, I find it hard to get into it, as there are mostly just local bands that are content with only playing the bar scene, and not many of them to boot.

Thanks for the input in advance.

[PoundinThunder]

somewhere on here, a person went pretty in depth on this topic. i looked for it a little bit but couldnt find it. if anyone knows what im talkin about post the link for this gentleman.

[timmbass]

From what I have heard...you need to be able to read and to be able to come up with original lines. You need to be useful to the project and nice and on time. You need to have normal, usual, typical equipment that recording engineers have faith in. If you don't have a reputation, bring equipment that does.

I can't help you get there, but I can point you to people I have read about who have been there...

Here is an interview with Carol Kaye:

http://www.richieunterberger.com/kaye.html

Here are her tips:

http://www.carolkaye.com/www/education/tips1.htm

Then there is a book by Tommy Tedesco titled "Confessions of a Guitar Player".

Here is an interview with Larry:

http://www.musiciansfriend.com/docum...1&src=3SOSWXXA

And Randy:

http://www.bmi.com/musicworld/entry/234500

Oh my gosh and Lee:

http://www.playjazzguitar.com/lee_ritenour.html

And then Will Lee:

http://www.bluedesert.dk/will_lee2004.html

After all, you said you were curious.

[Psychicpet]

I'm by no means a busy session player but the only way I've gotten the sessions I have and do play are strictly by word of mouth after someone has heard me play live either with them or with a colleague.

Again, it's a networking thing. Just like being a contractor building houses, you can advertise but typically it's all word of mouth.

[timmbass]

If you don't have good teachers near you, look online...

http://www.berkleemusic.com/school/courses/

http://www.musicdojo.com/

http://www.davelarue.com/lessons.asp

http://www.cliffengel.com/bass_lessons/correspondence/

[FenderHotRod]

Originally Posted by PoundinThunder

somewhere on here, a person went pretty in depth on this topic. i looked for it a little bit but couldnt find it. if anyone knows what im talkin about post the link for this gentleman.

Is this it?

Advice for aspiring Studio Players or anyone that wants to "Go Pro"

[JimmyM]

If you want to be a session player, buy a studio and hire yourself to play the sessions. About the only place where there's an active studio bassist market is Nashville, and it's a real tough one to crack. And in the world of home recording, bass is the easiest of all instruments to record at home. So even the top session players who used to work constantly are having a tough time making a living at it.

[Snarf]

There's maybe 5 people in the world that still make their living in the studio. It's more about tours and niche stuff now. Basically, if you can't improv REALLY well and sight read perfectly, and if you just can't hang or don't have a scene, don't bother.

[Pejdap]

Slovenian session bassists are Jani Hace (Siddharta) -
http://www.youtube.com/watch?v=uEbDn8eqOGY (here Jani Hace begin play at 1:00), http://www.youtube.com/watch?v=CwpX_UsN2CM (great song, effective bass), http://www.youtube.com/watch?v=23Kc2r8n_B0 (here as a session player! Great)
Anže Langus - Dagi (Da Phenomena, Leeloojamais) - http://www.youtube.com/watch?v=S-RumSUQXgM (great and effective funky/groove bass), http://www.youtube.com/watch?v=wqC-NXW48fk (Anže playing for raper Rok Trkaj, great bass)


And check out songs - specially careful listen to bass in background, they are great bassists. And please comment. Tnx.

[zac2944]

Originally Posted by Psychicpet

I'm by no means a busy session player but the only way I've gotten the sessions I have and do play are strictly by word of mouth after someone has heard me play live either with them or with a colleague.

Again, it's a networking thing. Just like being a contractor building houses, you can advertise but typically it's all word of mouth.

+1. I'm in the same boat.

I had my first steady session gig this summer. The producer that hired me saw me playing with a disco cover band and hired me to add disco bass lines to some dance music he was working on.

I think it helps that I live in the Boston area. If you don't have producers or other people who hire musicians around then you will have a harder time getting work.

Hopefully this guy liked my work and will recommend me to others. That's how it goes.

[Sneckumhaw]

Originally Posted by Snarf

There's maybe 5 people in the world that still make their living in the studio.

5? 5? Is that accurate?

[allexcosta]

Originally Posted by Snarf

There's maybe 5 people in the world that still make their living in the studio. It's more about tours and niche stuff now. Basically, if you can't improv REALLY well and sight read perfectly, and if you just can't hang or don't have a scene, don't bother.

Hahahaha... In the world? Are you sure?
I know dozens of guys that make a living in the studio. They average around 300-500 bucks per day. And they don't gig...

[Marcus Willett]

Originally Posted by allexcosta

I know dozens of guys that make a living in the studio. They average around 300-500 bucks per day. And they don't gig...

OK, I'll bite. What are the name(s) of the studio/studios in your area that have enough steady traffic to keep "dozens" of bass players steadily employed? I'd really like to know because it would be the only such city in the world most likely and I would be willing to relocate if I knew where it was.

Seriously, gimme some names and I'll look into it.

[DocBop]

The session scene is dwindling away mainly because of digital recording and with all the libraries, samples, and etc a lot of the sessions of old for TV, Movies, commericals, the bread and butter session work is gone. So instead of a roomfull of musicians laying down track its one guy in a home studio surrounded by keyboards and computers. On the good side for those who arrange and compose there is more work.

The musicians who would of been the second tier sesson players are now the ones big name gigs and tours. Like sesson work the are to read, know all styles, and can play tunes almost instantly like they have played them all their lives. The top level sesson guys are still out there and get the little work there is. But even someone like Lee Sklar in intervews talks how reduced the number of sessons are and when he does sessons now he's now goign to someone house to lay down a track not sit in a studio with a rhythm section.

To get into session work is the same now and it was in the past you have to build a reputation as a player. Getting your name around as a someone who know how to work with other and make the music come alive. Getting drummers and others that like to work with you. Front people (singer/soloists) who feel you make them sound good gets your name out there and steady work. That work will expand to touring and meeting other musicians and continuing to get your name around. All of that will include starting to get asked to record on peoples projects.

I would say not being in Nashville, L.A. or New York could be an advantage. There are radio, TV, and local artists that all need music and musicans. Get the experience locally as some of that work gets around so will your reputation. Also you can make more money as the hot go to local musician many time versus living in a place like L.A. were cost of living is ridiculous, and competition fiece do to the number of people who come her to try and break in.

I would suggest putting together a home studio and start record yourself (even your practicing) playing thru a DI or mic'd amp is a different world. String squeaks, noisy PUPs, even your tone is so different. Muting is more important, getting tone from your hands, and especially controlling dynamics is key. Gear that records well isn't alway the gear that is good for live. Doing session you have be able to be a chameleon so need to know how to get the sound the producer wants is key, Sometimes that take having a short scale hollowbody with flats on it, or the Jbass with roundwound steel string. Sometime they don't care about your tone that much they just want a good bright and clean part that they can do with what they want during mixing. You are a hired gun and take it personal. Give them what they want, smile, thanks for the check, and bye. Producers are a superstitious lot if you play on a something that is getting lots of air play or exposure, make sure to let people know. Producers are thinking if bass player x played on record Z getting play having them will get me air time. That is why you see the same guys doing the work all the time. Once you play on a commercial or record that get lots of air time, and people know it, your phone will be ringing.

Boy I was not planning on writing this much, must be early. Last work on your theory and sightreading. In today's world work on arranging and composing. Todays producers many do it all play, write, arrange, record, will if have some of those same skills you can think like they do and give them want they want. The less direction they have to give you the more respect they have for you and the more work they get done. Also if bass player slows down for you to have other skills to make money with. The more skills you have the longer your career will be.

Now I will shut up.

[willgroove2]

Originally Posted by Marcus Willett

OK, I'll bite. What are the name(s) of the studio/studios in your area that have enough steady traffic to keep "dozens" of bass players steadily employed? I'd really like to know because it would be the only such city in the world most likely and I would be willing to relocate if I knew where it was.

Seriously, gimme some names and I'll look into it.

Well speaking for myself my income is about 40% studio work (but i also write and produce in a variety of situations so I do hire myself)and 50% live work with 10% teaching and consulting.Most of the sessions I'm hired to play involve going to someones house or because I have a logic/pro-tools set up at home having things sent to me over the internet.At one time my goal was to do only studio work but with all the changes in the industry that hasn't been possible but i enjoy what i do.

[Marcus Willett]

Originally Posted by willgroove2

At one time my goal was to do only studio work but with all the changes in the industry that hasn't been possible but i enjoy what i do.

That was kind of my point. I do studio work too and a lot of guys I know do. But the suggestion that person X knows "dozens" of guys who make a steady living earning (by extrapolation) between $75,000 to $125,00 annually just doing studio work is a pretty big claim these days, and that's putting it mildly.

Without coming out and saying "You're lying", I would ask "OK, tell me more. What studios and who are just a few of these 'dozens' of guys?"

Just in my small town of 6,700 there are no less than 5 pro studios here, not counting another half dozen home studios. That's a lot of studios for a town this size. There are perhaps 3 or 4 qualified bass players to do the studio work and for all of them it is at best supplemental income.

[nysbob]

I live in Cincinnati and although I get calls for all manner of stuff, it's pretty flukey. The ad house stuff comes in flurries, and then there'll be nothing for quite a while. Ditto project work.

I love doing session work and would do it all the time if possible... but here anyway, it's a supplemental income at best.

[JimmyM]

Originally Posted by allexcosta

Hahahaha... In the world? Are you sure?
I know dozens of guys that make a living in the studio. They average around 300-500 bucks per day. And they don't gig...

Where in Florida is this? I'm near Orlando, and I do not know one person on any instrument who can make a living as a session musician. It's supplemental income at best, and it's in an area where there's a lot going on.