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How To Become A Session Musician

J

J-LoBass

Dec 4, 2010
17
0
#1
I know a lot of successful bassists come on TB and for me a youngster I'd love to hear, as I'm sure a lot of guys on here would, how you've managed to get to become a reasonably successful session bassist?

I once spoke to a guy called James Kirk and the guys he'd played with was just unreal, real modest guy though. So share your stories as well :):help:
 
#2
While I'd love to do more sessions than I currently do (work ebbs and flows from year to year, but I still stay busy) - I'd say:

-Relationships
-Location
-Attitude
-Aptitude

Pretty much in that order!

You need a pool/community of other session-quality musicians that you are friends with and can work with for long hours, sometimes for lousy pay and often on music that drives you nuts!

You need to be somewhere with lots of studios and people recording music. Obviously! While 'remote' sessions (recording at home and file sharing) have increased, it seems to have plateaued. Location used to mean NY, LA or Nashville, this is less true now, but more studios means more work!

You need to have a positive vibe and presence that makes others want to be around you and even helps them play better.

You need to be able to play. A little technique, great tone, quick instincts, taste, good ears, gear that you know and works well - it's all a given prerequisite & takes time to develop!

All that & a spouse with health insurance & you're good to go! ;-)
 
#3
Do you know what? I never even thought of going to studios and offering my work! I have a diploma in Music and I missed the simplist of ideas!

I think my gear would be ok for studio work, my MoMark Black600 and 102 with my Warwick means I can alter sound fairly quickily and move it all around.

Is reading treble and bass clef fairly essential in your experience and opinion? I know it's useful to have under your belt.
 
#4
J-LoBass said:
Do you know what? I never even thought of going to studios and offering my work! I have a diploma in Music and I missed the simplist of ideas!

I think my gear would be ok for studio work, my MoMark Black600 and 102 with my Warwick means I can alter sound fairly quickily and move it all around.

Is reading treble and bass clef fairly essential in your experience and opinion? I know it's useful to have under your belt.
Click to expand...

Walking cold into a studio isn't really what I'm talking about - but who knows? Establishing real long-term relationships is more what I'm driving at! Not so much: "Here I am and my gear is awesome!" ;)

Reading notation isn't huge here in Nashville, although rhythmic notation literacy helps when reading Nashville Number Charts. I have a had sessions in NY and from LA producers that handed me bass clef notation, but it's rare. More of that on TV jingle, broadway and such - less on pop music records.

That said, I do read music (both clefs) and can decipher a moveable clef quickly enough. It is helpful for my overall musicianship and ability to communicate with other musicians. It's definitely not a *required* session skill here, though.
 
#6

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