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Turning up to a session with a Squier. Yay or nay?

T-C-Bass

T-C-Bass

Jun 9, 2016
72
217
London
#1
I'm starting to get into session work down in London and I'm in the market for a precision bass as I don't currently own a decent one, just one cobbled together from bits. As moving to London is crazy expensive, funds are tight so I was thinking of getting a Classic Vibe Squier and putting flats on it.
I was wondering, would your average producer be bothered by me using a Squier alongside my Fender Mex Deluxe Jazz 5? Or as long as I can play the track and it sounds good, would they not be bothered by more let's say 'budget' gear until I can afford the F word?

Any advice would be greatly appreciated!
 
#5
This is not what you want to hear, but producers do not care even a tiny little bit about your financial constraints. They want what they want and they will hire the people that give them what they want. Despite the whining on TB about hearing with your eyes, that is the reality. Just my 2 cents, but if I could only afford a Squire I'd replace the logo with a Fender logo, sorry label Nazis.
 
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#6
They call it "show business" for a reason. Ain't always right, ain't always fair, ain't something that will change anytime soon. Two options...buy the Squier and un-logo it, or buy a beater Fender for the same price and mod it. Hell, some folks see the beater and think therefore you must be a bad-a$$ because your gear is so worn.....yes, I've actually had people tell me this before....
 
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#7
Wrap a silk schmatta around the headstock between the tuners and under the strings so no one can see the logo.

If anyone raises an eyebrow about it just say "It's part of the mojo, man." Also wear a tye dye shirt, sunglasses and maybe have a few beads in your hair. No one will question it.
 
#8
I'd say it depends on a lot of variables, including the level you're working at, your relationship with the client, your credentials etc.

sad to say but a cheap used MIM might be the way to go if you anticipate any kind of snobbery or prestige-hounding. a lot of people in music are still blinded by the headstock.

failing that, try "yeah, I have one in the back of the car, it's only a Squier but we could try it if YOU think it might work..." (or whatever fluff you think will do the trick). Then they get to take credit when it sounds like a "real" P. I could be way overthinking this, though :/
 
#9
lfmn16 said:
They want what they want and they will hire the people that give them what they want.
Click to expand...
IME: this is correct, but: i've never experienced a producer who wanted anything but the appropriate 'sound' (playing). no one ever suggested that a brand was necessary to get the gig! in fact: i would find brand snobbery among producers as an amusing anecdote. many producers are not musicians. some are, but barely. and some are great players in their own right, and therefore know better than to snob for brands --- even if they are 'endorsers'. i have found that producers want results and could care less how it gets done. they want: (1) a great recording(s), (2) on time, i.e., a deadline, and (3) a budget kept. pretty much in that order, although sometimes the lines get blurred between those three issues.

i did a series of sessions with the late, great rudi van gelder at his englwood cliffs studio in NJ, with george benson present throughout the process (he was a friend of the artist): brand was the last thing on the mind of the producer (or the artist, for that matter) who had more important issues to consider. no one sported duct tape repairs on their instruments, but no one cared about anything but the recordings and the process. all manner of 'brands' were present throughout --- budget to extravagant, all manner of dress --- hippie to suits, all manner of consciousness --- straight to stoned. none of it mattered: it was all about the music.

OP: i say be prepared to play. if you can't deliver on that = brand doesn't matter. good luck...enjoy! :thumbsup:
 
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#11
JRA said:
IME: this is correct, but: i've never experienced a producer who wanted anything but the appropriate 'sound' (playing). no one ever suggested that a brand was necessary to get the gig! in fact: i would find brand snobbery among producers as an amusing anecdote. many producers are not musicians. some are, but barely. and some are great players in their own right, and therefore know better than to snob for brands --- even if they are 'endorsers'. i have found that producers want results and could care less how it gets done. they want: (1) a great recording(s), (2) on time, i.e., a deadline, and (3) a budget kept. pretty much in that order, although sometimes the lines get blurred between those three issues.

i did a series of sessions with the late, great rudi van gelder at his englwood cliffs studio in NJ, with george benson present throughout the process (he was a friend of the artist): brand was the last thing on the mind of the producer (or the artist, for that matter) who had more important issues to consider. no one sported duct tape repairs on their instruments, but no one cared about anything but the recordings and the process. all manner of 'brands' were present throughout --- budget to extravagant, all manner of dress --- hippie to suits, all manner of consciousness --- straight to stoned. none of it mattered: it was all about the music.

OP: i say be prepared to play. if you can't deliver on that = brand doesn't matter. good luck...enjoy! :thumbsup:
Click to expand...
This has been debated ad nauseum on TB so I'm not going to rehash this whole thing again, but my experience, and many others' on TB is that brand does matter to some producers. My personal philosophy is 'never give them a reason not to hire you.' YMMV.
 
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#12
As long as your bass works properly and it sounds good, it shouldn't matter what's on the head stock. If you're that worried about it, throw some better pups in your Squier. I have a Squier P bass that plays and sounds better than most MIA P's I pick up at my local GC. Doesn't mean it is better than them. Just sayin.....

@lfmn16 does bring up some really good points there.
 
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#14
I have a P bass and a J bass, and both have "Squier" labels. But, they are both from very early Squier production, are both MIJ, and both sound great recorded. I have no problem with the brand names.
If I believe someone else may have a problem with them, I have resorted to decals or scarves.
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It's not often a problem, especially once I'm plugged in.
 
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#15
wraub said:
It's not often a problem, especially once I'm plugged in.
Click to expand...

Studio work is hard to get. To need to overcome possible prejudice towards budget gear will just make your life harder.

Producers are usually gear enthusiasts so you can bond over talking about your vintage bass or tube DI etc. No one is going to smile and engage you in shop talk when you break out a squire bass and peavey amp, no matter how good they sound.
 
#19
Smogcity said:
Studio work is hard to get. To need to overcome possible prejudice towards budget gear will just make your life harder.

Producers are usually gear enthusiasts so you can bond over talking about your vintage bass or tube DI etc. No one is going to smile and engage you in shop talk when you break out a squire bass and peavey amp, no matter how good they sound.
Click to expand...

My experience is that a lot of the studio gigs I got were from referrals who wanted/knew what I had to offer, and would accept some difference from the norm- so, admittedly, skewed. Additionally, I have found that, once the "haha" factor of say, the sticker I previously posted is past, discussing the production history, the Fender origins, the collectibility and quality of my vintage Squiers can win them over. That's when I plug in. ;)

This is the exception, though- on most sessions I was expected to play what the song required, not what the engineer required. They were expected to make the instrument I used fit the song. As long as the instrument I used was properly set up and played, my job as player was fulfilled.
 
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#20
Thankyou for all the advice guys! I was also looking at some of the 5 string precisions about. Would your average producer care about it being a 5 rather than a 4? Or would they want to stick with what they know will work? I'm trying to give myself the best chance possible.
I have a friend currently doing the circuit down in London who was told, "I could get you session work of you had a precision."
 

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