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Hey session cats I got an amp question

#62
Jim C said:
The post was titled "Session Cats"
I took this to mean players who are hired to play on recording sessions.
Albeit I haven't work full time is studios for 20 years, I would think the same scenarios exist, which are:
* Contrary to popular belief only a small percentage of recording studio time is used to make CD's
* The majority of work is not that glamorous and is typicaly a bunch of pros that are paid to get through a session quickly doing jingles, crappy soundtracks, etc.
* If you want to work often you follow the bosses orders; I don't think I've ever heard a bassist asked if using just a DI was OK
* Be open to new ideas
* It doesn't matter if it sounds like crap to you so long as the man signing checks is happy; this is not about making art; it's about doing music for a living
Click to expand...

yeah i suppose yer right.
 
#63
jim, you are right, but there is also a session world where creativity is prized and cool gear gets used, and the order of the day is come out with a great track, not get in and get out and get paid. the trick is knowing which gig is which ;)
 
#64
Sure! There are both worlds:
one where engineers/producers have the overall say and you'd better comply to keep working

and

one where your input is valued.
 
#66
JimmyM said:
jim, you are right, but there is also a session world where creativity is prized and cool gear gets used, and the order of the day is come out with a great track, not get in and get out and get paid. the trick is knowing which gig is which ;)
Click to expand...

I'd love to hear from any real deal players that spend at least 20 hours a week in the studio to find out what the ratios really are.

Is it safe to say that the main demand for session work is LA, Nashville, and NY and in that order?
 

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