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

[msquared]

This might belong in "Misc" instead of in a gear forum.

This thread is applicable: Advice for aspiring Studio Players or anyone that wants to "Go Pro"

I've never been a pro studio musician so I really have nothing tangible to contribute, but I have to imagine that some amount of paying your dues and getting the word out about yourself by working cheaply or for nothing would probably be a good start.

[JimmyM]

The same way you get into any facet of the music business...know somebody.

However, for studio work, there's a little more involved. First, you have to be a pretty good sight reader since you'll often be getting charts. You also have to own at least one Fender, preferably 2 or 3. I don't know how many times I or someone else has been told that they want a Fender.

And THEN you have to know somebody. I have never gotten anything from anyone out of the blue. It's always been from a friend or a friend of a friend who recommended me.

But bear this in mind...the studio musician business is pretty well dead everywhere but Nashville. Back in the day, people would hire musicians because the regular guys in the band couldn't play. And the only place to make a good sounding recording was in a pro recording studio. Nowadays, the musicians can all play for the most part and you can do recordings at home on a computer. So the studios are struggling to get people to record in them and when they do, they're usually self-contained. So the only market that uses studio musicians on a regular basis now is Nashville. And that market is so closed that it takes a miracle to break into it. The same 6 or 7 bassists cut every single track in Nashville.

[Wil Davis]

For a session-musician, not being able to sight-read is a problem… a big problem… In the Real World, if you were a producer looking for a bass player, who would you hire, given the choice between one who could read anything you put before them or one who had a problem with their reading?



- Wil

[deaf pea]

tommix - what CD did you do with Matt Nathanson?

[masmasbasso]

Originally Posted by deaf pea

tommix - what CD did you do with Matt Nathanson?

That was me. I play with Matt. I've been with him for about 1 1/2 years. I joined once he started touring full band for Beneath These Fireworks, so I didn't play on that one. That was Serge Andrade from Lifehouse, Matt Chamberlin on Drums and my old boss David Garza on guitar. I've been playing on his newest one. No title yet. We are doing another batch of songs in Feb. or March. We did the first batch in August then toured this fall. I would love to let you guys hear some of it, but I just have some super rough mixes and he is still working on the lyrics for some of the songs. Matt would be pretty bummed if I posted them. I mainly used my Sadowsky 4 string with flats and the preamp barely on. I also used a '57 reissue Fender Precision with roundwounds on some songs. I used the studio's Ashdown 500 Evo into a Eden 4-10 and went direct into a countryman DI in the Neve board. We recorded at Praire Sun Studios in Cotati, CA. http://www.prairiesun.com/

[Petebass]

Originally Posted by msquared

This might belong in "Misc" instead of in a gear forum.
.

I agree. Moved!

[winston]

Make sure your skills are where they should be (reading, bassline construction), have your gear dialed in, and start putting yourself out there as much as possible. Be reliable--write down your commitments, don't double-book, show up prepared and on-time. Don't be a jerk. Look/smell presentable. Address your shortcomings with a teacher who is better than you. Network with fellow musicians--especially bassists who might be able to use you as a sub. ALWAYS carry around business cards and don't be shy about giving them out. Return messages promptly. Find reliable subs who are at least as good as you are.

In the last 2 years I've gotten to have quite a busy career as a freelancer following these guidelines. From answering one classified ad in January 2004 I met 6 or 7 musicians who gave me many opportunities to play and record--including a good-paying jazz hotel gig every weekend with a yearlong contract. I'm not a virtuoso (yet!) but I make a genuine effort to improve and am thankful for my busy schedule.

Since you're looking to record, record yourself! It doesn't cost much to get a decent computer studio together. Go to local colleges/vocational schools with recording programs and let them know you're available. Many schools give away recording time--make a demo that show your strengths. Once you have it, post it on MySpace or link it to a Craigslist posting, etc. Have an acoustic bass guitar or a beater bass/little combo amp you can take to parties or weekend getaways, or play solo on the street or in the local coffehouse.

While the "real" studio scene is indeed shrinking, it means that there are just more people with project studios who need bass and have no ability to do it themselves. If you really want to you can make it happen!

[Correlli]

I trying my luck as a studio muso at this very moment.

Some of the things I learnt include, creating you own opportunities, become a producer yourself, write jiggles, build a website, write a professional looking PR kit, play more than one instrument (guitar, piano, sax etc), look for good singers, set up an indie label, create loads of demo's, get in contact with any organisation that uses music (advertising agencies... etc), and send out demo's.

So at the beginning, I think you have to do it all yourself until you've got more work than you can handle. And you don't need a huge studio to get started. just make sure you've got good quality gear to record vocals. create your own opportunities.

Lastly, the down down side of all this great technology, is that you really don't need a human bass player any more.

[FenderHotRod]

Originally Posted by Wil Davis

For a session-musician, not being able to sight-read is a problem… a big problem… In the Real World, if you were a producer looking for a bass player, who would you hire, given the choice between one who could read anything you put before them or one who had a problem with their reading?



- Wil

Brent Mason doesn't read music and look at how well he has done.

With my limited bass skills reading music is a good thing for me.

[Wil Davis]

Originally Posted by FenderHotRod

Brent Mason
…snip

Well, OK - and I'm sure others will point out that Sir Paul McCartney doesn't read music either (he doesn't need to, he pays someone to do it for him ), Luciano Pavarotti doesn't read music - he learns everything by rote…

So, they do exist, but they're the exceptions - if you want to have steady work, you really need to be able to read… (unless you're a Pavarotti, or a McCartney…).

- Wil

[PunkerTrav]

Great post and great thread.

Much of this can be applied not only to the studio, but to any professional endeavor one is involved in.

Thanks Tommixx!

[FenderHotRod]

Originally Posted by Wil Davis

if you want to have steady work, you really need to be able to read… (unless you're a Pavarotti, or a McCartney…).
- Wil

I agree

[masmasbasso]

Originally Posted by FenderHotRod

I agree

I don't agree. It can be important, but it depends on the types of music you play. Great ears, feel, getting along well with others and a seasoned musical instinct are WAY more important than reading. I've been reading music since I was a little kid and I rarely use it now unless I'm practicing classical or playing a jazz gig. I know tons of great players that work a lot in and out of the studio and don't read. They are hired for the reasons I mentioned.

[JimmyM]

Originally Posted by FenderHotRod

Brent Mason doesn't read music and look at how well he has done.

With my limited bass skills reading music is a good thing for me.

I was just about to tell you that we all weren't Brent Mason, but then you added the second line, so now I don't have to. Brent Mason is definitely an exception to the rule. Brent Mason is a terrific country bass player, but I'll bet he misses out on many sessions by not knowing how to read music.

[therealting]

Originally Posted by JimmyM

Brent Mason is a terrific country bass player, but I'll bet he misses out on many sessions by not knowing how to read music.

I'm not a big country fan so I could be wrong... but isn't he a guitar player?

[FenderHotRod]

Originally Posted by therealting

I'm not a big country fan so I could be wrong... but isn't he a guitar player?

lol......yes he is.....I read that in some guitar mag. before...Brent is just a monster.
-----------------------------------------------------------
Read music don't read music, don't make no nevermind to me. I don't think we should turn this thread into who can and can't become a studio musican if you can/can't read music. If you can become one without reading music fine. Some people are just born with this great god given talent to be able to do anything on what ever instrument they play. Me not so much, (sh*t wife distracted me, now I have lost my train of thought. I think I was trying to make a point) I know one thing tho I'm never going to get any better if I don't get off this freaken computer and actually practice.

[Lokire]

GREAT thread. Tons of really useful information here.

I don't have much to add but thought I'd add a couple essential item to bring to any session or gig. 9-volt batteries!!! Especially if you have an active bass, definatly keep plenty of fresh spare batteries close at hand. It's also a good idea to keep track of when you last replaced the battery and how long they usually last in your specific basses (and then be sure to change them well before you hear any signs of the tone dying - better safe than sorry). Before my Ken Lawrence bass was changed to active/passive switchable, I had the battery die on me during a gig - right in the middle of the show too, and there was nothing I could do. Definatly an experience I don't want to repeat.

And also, invest some money into a really good pair of gloves. If your fingers are cold, you're playing isn't going to be anywhere near where it could be. It makes a huge difference.

[JimmyM]

Originally Posted by therealting

I'm not a big country fan so I could be wrong... but isn't he a guitar player?

Oops...my mistake. Oh well, the main message still stands.

[tommixx]

Originally Posted by Lokire

GREAT thread. Tons of really useful information here.

I don't have much to add but thought I'd add a couple essential item to bring to any session or gig. 9-volt batteries!!! Especially if you have an active bass, definatly keep plenty of fresh spare batteries close at hand. It's also a good idea to keep track of when you last replaced the battery and how long they usually last in your specific basses (and then be sure to change them well before you hear any signs of the tone dying - better safe than sorry). Before my Ken Lawrence bass was changed to active/passive switchable, I had the battery die on me during a gig - right in the middle of the show too, and there was nothing I could do. Definatly an experience I don't want to repeat.

And also, invest some money into a really good pair of gloves. If your fingers are cold, you're playing isn't going to be anywhere near where it could be. It makes a huge difference.

+1! Great point about the batteries...I usually buy the 4 packs and keep at least 2 4 packs with me all the time... I have batteries in my gig bag, bass cases, and mic bag...JUST IN CASE!

Thanks for all the compliments guys....and if you want to make it in the business, I agree that reading is important but as mentioned, NOT essential if you can make your own opportunity. I personally encourage EVERYONE to be able to go over a chart and at least have a clue at what the arrangement is and be able to nail it within no more than 2 takes. I have seen guys who can't read a chart get in early and write out their own "charts" before the session starts. I have helped quite a few do just that over the years. So anything is possible if you want it bad enough!! Keep at it and God Bless!

Peace,

T

[plasson]

Ehi Tommixx, which are the pros and cons of an active and a passive bass during a recording session?