Drawing a salary

[onetrickpony]

Hi JMJ,

I'm not exactly sure how to phrase the question as it's a bit jumbled in my head so please bear with me

How do you, as a professional musician, make ends meet? It's obviously different than working for a boss in a nine to fiver, where you get a set salary at the end of the month.

How do you decide which tours to take, which gigs to do, which studio sessions to turn down? How do you get new gigs? Although, I guess at this stage of your career you get approached more as opposed to you doing the approaching.

How do you handle conflicts?
I.e. NIN books you for a show, but then Beck comes and says "I have a gig on x date"?

I guess, in short, what I'm asking is how do you make sure that you have enough money at the end of the month to pay the rent, buy food, get that new piece of gear, etc, etc?

- pony

 

[Rockmusician]

The best way is to network as much as possible and hire a qualified manager or booking agent.

 

[jmjbassplayer]

I'm not sure how I make ends meet, but there's enough stuff going on to where I can stay busy. It's a question I just don't really know how to answer...not being coy, it's just such a strange thing. Good work, when I do it, seems to perpetuate other good work. At least, for the time being.

And I must respectfully disagree: hiring a qualified manager is not the way to get enough work from my experience. I've had two separate (and well-regarded) management teams over the years, and ultimately received very little work from their efforts. That is simply not their specialty, though you would expect otherwise. Their role has always been 90% support, communications and logistics. You cannot rely on management to push you forward...I know this intimately from myself and the experience of so many other associates in my circles. This is slightly different for me as a producer, but as a player: definitely fairly minimal in that department.

As far as conflicts, I basically keep it very very simple and confirm the work that comes first. Aside from that, things have always ended up badly (or at least not-ideal) if I've ever strayed from that plan and tried some shenanigans.

How I make sure I have enough money is by remaining diverse. That's been the key. Producing, writing, music directing, freelance A&R'ing, sessions, gigs, touring. Even when some of these projects and roles are not remunerative, they seem to usually lead somewhere, especially if done with care and love.

Best,
Justin

 

[jallenbass]

Has economy of the last few years had any or much of an impact on your income or others in your circle? When I was a freelance orchestra player in the 80's and 90's I can't say I saw much fluctuation in my income but I didn't go through times like this.

 

[onetrickpony]

As far as conflicts, I basically keep it very very simple and confirm the work that comes first. Aside from that, things have always ended up badly (or at least not-ideal) if I've ever strayed from that plan and tried some shenanigans.

That's great to hear. I have seen a lot of players turn go back on a confirmed gig, because they get another one that pays more money. And, like you said, it ends badly.

I got my start in session playing due to a similar scheduling conflict, actually.

I also think it speaks volumes about one's character if you honor your commitments that you make first.

How I make sure I have enough money is by remaining diverse. That's been the key. Producing, writing, music directing, freelance A&R'ing, sessions, gigs, touring.

Great food for thought - It's a simple example, but I've noticed that a lot of bands' bass players aren't just bass players anymore; they also do keys, backing vocals, etc. All of these things influence if you get the gig, I suppose.

Thanks for the reply; I know it's a bit of an arbitrary question, but I'm trying to figure out what I have to do to leave the office environment.

Thanks!
S

 

[Peter_00]

I would say playing music as a way out of the office environment might lead to some frustration if you make choices only based on that goal. Don't get me wrong, it is a great goal but you can't approach every band you join as a way out of your day job.

In addition to what JMJ and others have said: find people who you really like playing with (regardless of financial benefit) and who have some kind of 'vision' for their music. As in, a specific aesthetic direction they are pursuing that you can sympathize with. Bring as much as you can that will add to this and repeat. In short, do it for the love and good things will come.

 

[onetrickpony]

I would say playing music as a way out of the office environment might lead to some frustration if you make choices only based on that goal. Don't get me wrong, it is a great goal but you can't approach every band you join as a way out of your day job.

In addition to what JMJ and others have said: find people who you really like playing with (regardless of financial benefit) and who have some kind of 'vision' for their music. As in, a specific aesthetic direction they are pursuing that you can sympathize with. Bring as much as you can that will add to this and repeat. In short, do it for the love and good things will come.

Thanks, Peter.

I understand what you're saying. If I had to quit my job every time I joined a band, I'd be broke and unemployed most of time time.

Maybe I should rephrase - it's not just to get out of an office, it's also a choice of career for me. I'm getting session work that pays well, so I'm not just chasing a pipe dream. It's more of the logistics behind it that I'm having trouble with. And, of course, getting more gigs.

It's pretty much like running your own business, not so? Except it's a bit different than the kind of startups your average MBA and business school grads go for.

But thanks, this is also awesome advice, especially with regards to finding people who share the same vision. A lot of the time we just play for the sake of playing, without having some kind of end goal.