Session bassists...how did you get your start?

lamonica78 · #1 08-18-2008, 08:56 AM

I'm just starting to enter into the session world. I play bass in an original band, but I am looking to pick up some hours and $$. The last few years (especially this year) I've been making strides toward making myself a more competent and complete bassist and I feel pretty confident that I can offer my services for recording projects.

That being said, how did you all get your start? How/where did you advertise? How did you select your projects?

Thanks in advance

makaky · #2 08-18-2008, 09:02 AM

-Reading skill has to be A1
-Being able to come up with good basslines on the fly.
-Doing your work fast and under preasure.
-And most important is building a network and a reputation.

spade2you · #3 08-18-2008, 09:51 AM

Since this thread is open, is it important to have some good clips of previous work? Some day I'd like to do some session work, although there really isn't a whole lot of work to be had 'round here. Too many friends here to just leave.

VroomVroom · #4 08-18-2008, 10:22 AM

Makaky covered it very well. Whenever you record with your band, ask the engineer for info on any producers in her/his network, and let it be known that you're interested in session work. A website (or myspace page...or both) with sound clips makes for good marketing material, as do business cards with easily read contact info.

Aside from the great playing advice above, personality issues are just as important. Ask questions (make the producer, artist, and engineer sound important

) about sound, style, etc. Be able to answer their questions too, especially about business. If you're in a position to quote rates, be confident in stating a number. When you get the call...get there early, consider yourself a servant at the mercy of whoever is calling the shots, and keep your ego out in the car.

Make sure your gear is set. No intonation or electronic demons on the basses, fresh batteries, fresh strings (or at least have them ready), known-good cables, and some idea of how to get the best sound out of your instruments...which may include investing in your own D/I. Depending on how versatile you'd like to be, you'll need multiple instruments to go along with very clean playing, a great set of eyes, and an even better set of ears.

Beyond that, it's all about hustle. What you may find is that your best source is fellow bass players. Talk with cats who are already getting session work. Not only will you get outstanding advice, but you can let them know that you're available for sub work. Down the road, this can be very valuable in the other direction. For example, I've gotten a lot of follow-up work with one producer because I recommended she use another player for a specific session that wasn't really in my wheelhouse.

Good luck and have fun with the process!

jomahu · #5 08-18-2008, 10:31 AM

Quote:

Originally Posted by VroomVroom

Make sure your gear is set. No intonation or electronic demons on the basses, fresh batteries, fresh strings (or at least have them ready), known-good cables, and some idea of how to get the best sound out of your instruments...which may include investing in your own D/I. Depending on how versatile you'd like to be, you'll need multiple instruments to go along with very clean playing, a great set of eyes, and an even better set of ears.

people have mentioned before that a producer may ask for just a P-bass (or J, but i've seen mostly P) for recordings.

is it worth it to have a basic arsenal (P, J, Ray) and ask what is needed, or just show up with a 'versatile' instrument and argue that yes, you can get a good P tone from a $$$$$$$$ bass? and how important is the name on the headstock, generally speaking?

VroomVroom · #6 08-18-2008, 11:30 AM

It really depends. If your goal is to do a lot of session work, I'd recommend preparing for an investment in a wide number of instruments...and a few different D/I boxes. There are still folks who only want to see "Fender" on the headstock - they tend to be the same ones who insist that drummers remove the resonant head on their bass drums.

Personally - and not that my phone is ringing off the hook or anything - I tend to turn down such calls. This is an example of where communication can come into play, as well as samples of your prior work. Producers and artists will have an idea in advance of what you can bring to the table...which may include the ability to get a vintage tone out of a non-vintage instrument.

bkbirge · #7 08-18-2008, 11:34 AM

It's mainly networking. Take lessons from the first call guy in town, then when he can't make it you get a referral. The biz is still 99% word of mouth.

lamonica78 · #8 08-18-2008, 12:10 PM

Great advice! Thank you everyone. The only thing that worries me is that I'm not great at site reading. I was awesome at it when I played sax and have no problems reading treble clef. I'm trying to improve my bass clef reading at the moment though.

spade2you · #9 08-18-2008, 12:12 PM

Quote:

Originally Posted by VroomVroom

Producers and artists will have an idea in advance of what you can bring to the table...which may include the ability to get a vintage tone out of a non-vintage instrument.

What?! This can be done?! No way!

BassChuck · #10 08-18-2008, 07:46 PM

Quote:

Originally Posted by lamonica78

Great advice! Thank you everyone. The only thing that worries me is that I'm not great at site reading. I was awesome at it when I played sax and have no problems reading treble clef. I'm trying to improve my bass clef reading at the moment though.

Keep working at it... if you were good on one instrument you'll be good on another in time.

One thing to consider is that one reason that you were good on sax is that you learned (I'm guessing) in a school band. In other words by playing along with others. Trying to do it on your own by yourself is possible, but slow and not so much fun. Try to get with other players in a reading situation.

lamonica78 · #11 08-18-2008, 08:41 PM

Quote:

Originally Posted by BassChuck

Keep working at it... if you were good on one instrument you'll be good on another in time.

One thing to consider is that one reason that you were good on sax is that you learned (I'm guessing) in a school band. In other words by playing along with others. Trying to do it on your own by yourself is possible, but slow and not so much fun. Try to get with other players in a reading situation.

Yup, started reading music in the 5th grade on sax. Just recently started reading/writing on staff paper with my bass teacher. i'll get there eventually!

jomahu · #12 08-18-2008, 10:03 PM

OP: your band is sick!

lamonica78 · #13 08-19-2008, 10:12 AM

Quote:

Originally Posted by jomahu

OP: your band is sick!

Hey! Thank you very much!!!! Just checked out Zili Misik and you are awesome as well!!!! Very cool stuff!

Steve

rappa29 · #14 08-19-2008, 10:28 AM

Quote:

Originally Posted by VroomVroom

Producers and artists will have an idea in advance of what you can bring to the table...which may include the ability to get a vintage tone out of a non-vintage instrument.

Or the ability to PLAY WITH A PICK.

Sorry, had to get that in there in reference to a rant about picks in another thread.

Seriously though, someone already posted about ego. Not that I've done a ton of session work, but when I was in college, I got more 'work' playing keyboards, because I was easy to work with and had a great attitude, besides having some talent

. As opposed to the more talented but more egotistical keyboard players at school.

Reuben · #15 08-24-2008, 10:13 AM

Advertising is a total waste of time.

Buying a bunch of instruments because you have heard people will want you to have them is a waste of money.

There are a thousand routes to becoming a session or freelance player, but only one way to get past the first couple dates: play your ass off.

I got my start as a freelancer when I quit a busy band I was in, and because they loved my playing they paid me to stay "while they looked for someone else." I eventually realized that they weren't actually looking...hah. Meanwhile, they had a hard time keeping a drummer in the band. So a steady stream of subs came through the band. All of them were good and a couple of them recommended me for some recordings and live gigs. Through those I met more musicians who were doing this kind of work, and they got me on some other jobs...etc, etc...

KsToaDangr · #16 08-24-2008, 12:02 PM

I don't do too much session work, because the owner of the recording studio I record at is a bassist, but he's got me on a short list of people to call when he can't do a session. The way I got started was about 5 years ago the post-punk band I was in recorded a 9 song demo in one day in the studio, and the owner was so impressed with me that he asked if I would mind doing a session for a project of a friend of his that he couldn't make it to. Ever since then, I've gotten 5 or 6 calls per year from him asking if I've got a day free to record a session. 5 or 6 times a year isn't very often at all, but it's extra money in the bank, so I'll always free up a day for him.

bradjonesbass · #17 08-24-2008, 12:18 PM

How much of your session work is full on sight reading and how much is chord chart/lead sheet/Nashville chart work???? For me 99% of it is pretty much of the chord chart/lead sheet variety. If anything is written out, it's usually a short phrase, and even then I have some license with it.

Captain_Arrrg · #18 08-24-2008, 12:30 PM

Quote:

Originally Posted by lamonica78

Yup, started reading music in the 5th grade on sax. Just recently started reading/writing on staff paper with my bass teacher. i'll get there eventually!

I'm pretty much in the same boat (I started on the alto sax in the 4th grade, Bari in 5th and the bass in 6th), and although I did learn to read BC, a year or so not doing it has left me rusty to say the least. I've started to transcribe what I play and that has brought it back (sort of).

So what I guess what I'm saying is stick with it! Tenacity is your friend.

As for session bassists, it's been my experience that not only are they some of the best bassist out there, but also the most professional (see VroomVroom's post). I've only done a few tracks here and there (nothing to brag about), and the best advice I can give is that you need the ability to "find" bass lines in as little as a drum beat or even nothing. Also expand the genres that you play. You may never play on an R&B track, but is is good to know who to give one "more of an R&B feel."

I like your band as well- Very cool. I'll try to get to one of your gigs the next time I'm in Philly.

Quote:

Originally Posted by bradjonesbass

How much of your session work is full on sight reading and how much is chord chart/lead sheet/Nashville chart work???? For me 99% of it is pretty much of the chord chart/lead sheet variety. If anything is written out, it's usually a short phrase, and even then I have some license with it.

IME it all depend on who your working for. Some people know exactly what they want and some want me to come up with what fits. I'm fine with either, but I do prefer charts.

Eminentbass · #19 08-24-2008, 12:35 PM

I got started out of sheer dumb luck. I recorded with my first band and built up a rapport with the engineer, even though it took three years and some more experience before my first booking. Also playing live gets you in touch with contacts or people who know contacts. All it takes is one friendly recommendation and some patience.

It's been mentioned above but attitude sometimes gets you further than skill. It's about being easy to work with and being able to take directions. It's the artists work and some can be specific about what they want and some will respect your own creativity and input. Little things about being prepared also make a good impression and lead to call backs e.g spare strings and batteries etc... Hope this helps.

spade2you · #20 08-24-2008, 01:18 PM

Quote:

Originally Posted by Captain_Arrrg

IME it all depend on who your working for. Some people know exactly what they want and some want me to come up with what fits. I'm fine with either, but I do prefer charts.

Perhaps a little off topic:

One thing I've always wondered is if they know exactly what they want to hear, why don't they do it themselves? Although, most of the bands that have wanted exact bass lines weren't able to read or write music....and often were really bland as bass parts go. Of course, I wasn't dealing with pros.

Most of the bands I've been in over the last couple of years allowed me a bunch of artistic freedom...mainly they allowed me to show some signature and they didn't have a bass part written. I definitely need to dust of my sight reading skills, gotten very weak since I haven't needed to use it.