Starting from scratch as a freelance bassist

[Joe Nerve]

I'm gonna say a bunch of stuff that ain't gonna be fun ... but my intent is to help, not hurt. And this is of course only my opinion.

First and most importantly, if you want badly enough to be successful at this and believe you can, I believe you will find a way. Second, it ain't going to be easy, and if you plan to earn your living doing it I think it's best while working towards that to have another way to support yourself. The desperation that some musicians put out in order to secure paying gigs hurts many. I know this from many musicians around me, as well as my own experience. Needing the extra $20 of a $100 you're supposed to get paid creates a very different person than the one who it really doesn't matter to. Not by any means saying ya need to be a pee on, but neediness and desperation never make an attractive package.

The tougher part of what I'm gonna say is what I'm gonna say now. I really think it would be in your best interests to consider the next year or 2 "school," or on the job training, and just play any and every gig you can possibly get without letting money be an issue at all. Use the time to get pictures, build a resume, gain confidence, get experience on stage, in the studio, and on the business side of things. And use the time to make as many contacts - AND BY THAT I MEAN FRIENDS - as possible.

I've had a handful of pretty cool gigs in my life (started gigging in 1978), but only started earning my living in music about a year and a half ago. Many people I know were getting much better gigs than me, and it was frustrating. I hate name dropping, but I'm tired of not name dropping because I think it's important. People I've played with got steady gigs with Journey, G'nR, Blondie, Ace Freehley, Megadeath, Joan Jett, Leslie West, Rainbow, Lita Ford, Ozzie, and a bunch of other that are slipping my mind right now - and all these people had a few things in common. Things it took me a long time to learn.

• They were all competent musicians (some just average players, but knew their stuff).
• They loved what they did and would do it (did do it) even if they weren't getting paid.
  
• They were all almost neurotically professional (if they were supposed to be somewhere at 8, they were there at 7:45).
• They were all completely dependable regarding their music. The bands they played with never had to worry that they'd be prepared for anything.
• They all knew when to keep their mouths shut, as well as the few times they should open them. They were very agreeable, easy going people.
• They smiled lots.
• Most importantly - they were people everybody wanted to be around. People who made everyone feel like they (the other people) were the most important person in the room.

It is my belief that that last part is what secured the best gigs for them.

Bottom line: Being competent on your instrument has to come first. Having people trust you completely and want to be around you will get you the work. The more people you know like that, the better your chances, and to try and build that kind of confidence and reputation playing only paying gigs is going to be incredibly difficult, if not impossible. IMO.

I played with any and every band I possibly could (sometimes 5 at time), and spent the last 10 years working at those bullet points above. My history at Talkbass will show that I pretty much loved every minute of it too. Loving it most now. I have roadies. I always dreamed of having roadies .

 

[juggahnaught]

Let's see - you can't or won't play jazz, weddings, pit orchestras, you will play in a cover band if it's working every weekend, and on and on...I will guarantee that Leland Sklar, Nathan East, or any other well-known successful freelance bassist ever said, wrote, or even thought of a bunch of more ridiculous stuff than that.

Um - respectfully, I think you're misunderstanding me. I'm not intending to be picky. I'm not unwilling to do stuff like that - it's just that there are people WAY better than I am at some things, and I'm very aware of this. The examples you cited were mentioned because I don't currently sight read - so yes, a pit orchestra is out of the question. I'm definitely not averse to playing weddings, but I'm aware that wedding bands are highly professional groups and I might be shooting for the moon there. It's not a matter of me being picky. It's a matter of me working with the skills that I have (good ear, good musical memory, easy to work with) and working around the skills that I don't (sight-reading, certain styles of music that I'm not yet great at) and minimizing/maximizing.

I should clarify, since perhaps it's not obvious, that when I say "freelance bassist" I'm referring to someone who can sub for local shows here in Seattle for certain genres, and possibly do "session" work for singers/songwriters who need tracking, and get paid for these services. I'm not looking to be the best choice for any bass-related option, because I'm not at that level - at least not yet. I'm bad at jazz. That might change in the future, but because I'm aware of this limitation, I wouldn't find it reasonable to ask for money to provide services in that area. Does that make more sense?

Also, please note that I'm a software engineer by trade, so as stated before, I'm not planning to make this a primary source of income. This is a side hustle that I'd like to do so that I can get out and play, without being tied to a single act or single style of music.

I hope this clarifies things.

 

[tradernick]

It's not a matter of me being picky. It's a matter of me working with the skills that I have (good ear, good musical memory, easy to work with) and working around the skills that I don't (sight-reading, certain styles of music that I'm not yet great at) and minimizing/maximizing.

I should clarify, since perhaps it's not obvious, that when I say "freelance bassist" I'm referring to someone who can sub for local shows here in Seattle for certain genres, and possibly do "session" work for singers/songwriters who need tracking, and get paid for these services. I'm not looking to be the best choice for any bass-related option, because I'm not at that level - at least not yet. I'm bad at jazz. That might change in the future, but because I'm aware of this limitation, I wouldn't find it reasonable to ask for money to provide services in that area. Does that make more sense?

A freelance bassist is a pro. You asked about how to break into that world.

If you had asked

'How can I get the occasional sub gig in a few selected genres and the occasional singer-songwriter studio gig that doesn't require reading? Basically I just want to get out and play a little'.

you would have had different responses.

By the way, the answer to the question you now seem to be asking is simple. Become a better player day by day. Get out and play and network, especially with those who are active in whatever genres you're referencing.

 

[pcake]

i used to do bass parts cheap for people making demos. i got recommendations from the guy who owned this one studio some friends had recorded at after he heard me play. doing this can get you repeat business (so don't go TOO cheap) and recommendations.

open mics are a good place not just to play but to talk to and meet other musicians - it's not enough to go and play; you have to go talk music, and if asked be willing to jam with them. when a friend needs a bass player, if they like you and your playing, your name will come up. same with just jamming with other musicians you meet at music stores or on CL. become known for showing up a few minutes early with good, working gear and a good attitude, and people will start recommending you.

and if your fingerstyle is just decent (the OP's word), work on it like crazy.

 

[brianrost]

I get all my freelance work through word of mouth. That's after years of doing gigs with lots of different bands in different styles where I met players who either recommend me to someone else or call me up to see if I'm available for their band. Old school I guess.

If you're not already well known within a wide circle of players in your town, you're out of luck.

 

[turf3]

And don't judge a gig by its genre. It is often the case that two of the five guys in the country band you subbed with on Saturday also have a punk band that needs a sub next Sunday; and another guy is looking for someone for his jazz quartet.

 

[Stumbo]

It's a matter of me working with the skills that I have (good ear, good musical memory, easy to work with)

If you're not already well known within a wide circle of players in your town, you're out of luck.

If nobody knows your name...

 

[dpbass66]

Um - respectfully, I think you're misunderstanding me. I'm not intending to be picky. I'm not unwilling to do stuff like that - it's just that there are people WAY better than I am at some things, and I'm very aware of this. The examples you cited were mentioned because I don't currently sight read - so yes, a pit orchestra is out of the question. I'm definitely not averse to playing weddings, but I'm aware that wedding bands are highly professional groups and I might be shooting for the moon there. It's not a matter of me being picky. It's a matter of me working with the skills that I have (good ear, good musical memory, easy to work with) and working around the skills that I don't (sight-reading, certain styles of music that I'm not yet great at) and minimizing/maximizing.

I should clarify, since perhaps it's not obvious, that when I say "freelance bassist" I'm referring to someone who can sub for local shows here in Seattle for certain genres, and possibly do "session" work for singers/songwriters who need tracking, and get paid for these services. I'm not looking to be the best choice for any bass-related option, because I'm not at that level - at least not yet. I'm bad at jazz. That might change in the future, but because I'm aware of this limitation, I wouldn't find it reasonable to ask for money to provide services in that area. Does that make more sense?

Also, please note that I'm a software engineer by trade, so as stated before, I'm not planning to make this a primary source of income. This is a side hustle that I'd like to do so that I can get out and play, without being tied to a single act or single style of music.

I hope this clarifies things.

Learning something about jazz will teach a lot about the fundamentals of music that will pay you back 100x when applied to other styles. You may never play a jazz gig in your life, but that doesnt matter.

 

[Kevan Campbell]

I'm gonna say a bunch of stuff that ain't gonna be fun ... but my intent is to help, not hurt. And this is of course only my opinion.

First and most importantly, if you want badly enough to be successful at this and believe you can, I believe you will find a way. Second, it ain't going to be easy, and if you plan to earn your living doing it I think it's best while working towards that to have another way to support yourself. The desperation that some musicians put out in order to secure paying gigs hurts many. I know this from many musicians around me, as well as my own experience. Needing the extra $20 of a $100 you're supposed to get paid creates a very different person than the one who it really doesn't matter to. Not by any means saying ya need to be a pee on, but neediness and desperation never make an attractive package.

The tougher part of what I'm gonna say is what I'm gonna say now. I really think it would be in your best interests to consider the next year or 2 "school," or on the job training, and just play any and every gig you can possibly get without letting money be an issue at all. Use the time to get pictures, build a resume, gain confidence, get experience on stage, in the studio, and on the business side of things. And use the time to make as many contacts - AND BY THAT I MEAN FRIENDS - as possible.

I've had a handful of pretty cool gigs in my life (started gigging in 1978), but only started earning my living in music about a year and a half ago. Many people I know were getting much better gigs than me, and it was frustrating. I hate name dropping, but I'm tired of not name dropping because I think it's important. People I've played with got steady gigs with Journey, G'nR, Blondie, Ace Freehley, Megadeath, Joan Jett, Leslie West, Rainbow, Lita Ford, Ozzie, and a bunch of other that are slipping my mind right now - and all these people had a few things in common. Things it took me a long time to learn.

• They were all competent musicians (some just average players, but knew their stuff).
• They loved what they did and would do it (did do it) even if they weren't getting paid.
  
• They were all almost neurotically professional (if they were supposed to be somewhere at 8, they were there at 7:45).
• They were all completely dependable regarding their music. The bands they played with never had to worry that they'd be prepared for anything.
• They all knew when to keep their mouths shut, as well as the few times they should open them. They were very agreeable, easy going people.
• They smiled lots.
• Most importantly - they were people everybody wanted to be around. People who made everyone feel like they (the other people) were the most important person in the room.

It is my belief that that last part is what secured the best gigs for them.

Bottom line: Being competent on your instrument has to come first. Having people trust you completely and want to be around you will get you the work. The more people you know like that, the better your chances, and to try and build that kind of confidence and reputation playing only paying gigs is going to be incredibly difficult, if not impossible. IMO.

I played with any and every band I possibly could (sometimes 5 at time), and spent the last 10 years working at those bullet points above. My history at Talkbass will show that I pretty much loved every minute of it too. Loving it most now. I have roadies. I always dreamed of having roadies .

This right here should be made into a sticky for this sub-forum. Awesome words, thanks @Joe Nerve!

 

[Ostie]

Play as many different types of music as you can. You can be picky later when you get established.

Place an ad on CL, and read the ads. You might find some gigs there.

 

[JRA]

business cards, a website, etc etc,

"press" material to show.

videos

videos of them playing with existing ensembles

press kits (official photography, features in print media, etc)

calendar of availability.

footage of me playing in a band

music that I have recorded with other people

 

[Rayjay]

See, you are being picky without realizing it. When it comes to freelance, the work that's available is hard to come by and pretty specific. You need to be able and willing to read, play DB, jazz, whatever the gig calls for. I think you're being too specific about the work you want to do - "being just like your bass teacher" - you need to find out what's available first.

Understand, no one is dying to hire bass players right now. You need to create your own demand. Just being good isn't going to get you hired.

And I agree that no one is going to put their rep on the line to offer you sub work, yet.

I think there is some great advice here that you need to take carefully.

I'd add that you need to be very humble, and network with local musicians. Go to their regular gigs, in cities I've lived in their was a bunch of jam sessions. Compliment people, get to know what the style is, treat them as your friends and not like your competition, even thought some might see you as competition. Be mindful of doing things that might come across as conflict of interest or double-crossing. Joining a band and "putting in your dues" is also great advice.

 

[twinjet]

See, you are being picky without realizing it. When it comes to freelance, the work that's available is hard to come by and pretty specific. You need to be able and willing to read, play DB, jazz, whatever the gig calls for. I think you're being too specific about the work you want to do - "being just like your bass teacher" - you need to find out what's available first.

Understand, no one is dying to hire bass players right now. You need to create your own demand. Just being good isn't going to get you hired.

And I agree that no one is going to put their rep on the line to offer you sub work, yet.

I think there is some great advice here that you need to take carefully.

I'd add that you need to be very humble, and network with local musicians. Go to their regular gigs, in cities I've lived in their was a bunch of jam sessions. Compliment people, get to know what the style is, treat them as your friends and not like your competition, even thought some might see you as competition. Be mindful of doing things that might come across as conflict of interest or double-crossing. Joining a band and "putting in your dues" is also great advice.

I've been doing this for the past few years and it's working brilliantly. I'm still very new to the sub game in town, and I'm only doing it part time, but I'm happy to say I'll be up to 23 gigs this year as opposed to last year's 8-10.