Session Work

[lobematt]

I'm in the process of putting together a musicians CV complete with demos, youtube links etc, with a view to get some session work out of it. My question is though, who would I be best off sending it too?

Would it be labels, management companies, studios, all of the above or someone else entirely?

Cheers!

[risingson]

[quote name='lobematt' post='1315779' date='Jul 25 2011, 02:45 PM']I'm in the process of putting together a musicians CV complete with demos, youtube links etc, with a view to get some session work out of it. My question is though, who would I be best off sending it too?

Would it be labels, management companies, studios, all of the above or someone else entirely?

Cheers![/quote]

I think that whilst what you've put together is a good idea, work as a session musician comes from climbing the ladder and demonstrating in a practical environment that you are capable, reliable and a friendly person with whom people will want to work with and recommend. In fact more specifically, the only person they'll want to recommend ever again. Networking will ultimately be the thing that gets you work. Ask producers if you can sit in on up and coming artists so you can get a feel for what is required as a studio musician. There are people who will need musicians for dep work on T.V and for studio dates as well, expect the cash to be minimal to non-existent but being reliable and diligent with these kinds of people will earn you more and more work.

And definitely get your reading together!! A lot of stuff I've seen recently has been chart work, but even still you don't want to give anyone the excuse to call someone else. Have every base covered. And good luck


EDIT - just noticed you're based in Liverpool. You been down to see what's happening at Parr Street at all?

Edited July 25, 2011 by risingson

[lobematt]

Thanks for the reply mate, I did have a feeling the answer that came back was going to be along the "It's not what you know..." lines.

I'm just wondering how to even get on the radar for these people! Sitting in on sessions would be a good idea, I'll give Parr St a call and see what they say!

[stoker]

I've been tempted to go down the session work route myself but have never known quite how to start.

[algmusic]

I wish I knew.. It's all about what risingson said. All of my session work comes from recommendation.. also making sure you ready for any and I mean anything.. The few years when things were quiet, I got lesson and practised Sh1t loads..

The term session musician has two meanings these days.. the traditional term was soley for recording, now alot of people use it like the term freelance.

My advice, network practice, take all the gigs you can, network, be easy to get on with, network and practice and practice recording at home.. much I like said in another thread recording is a different beast to live

[dc2009]

In the same vein, has anyone here got any contacts or companies they would recommend for cruise ship bass playing? I quite fancy doing it for a bit after I graduate.

[lobematt]

Yeah by session I don't mean just studio, I basically mean people calling me up wanting to give me money to play my bass! Which I know is far down the road and very hard to come by but I know it's not impossible.

[lobematt]

[quote name='dc2009' post='1315970' date='Jul 25 2011, 05:22 PM']In the same vein, has anyone here got any contacts or companies they would recommend for cruise ship bass playing? I quite fancy doing it for a bit after I graduate.[/quote]

I'm a member or starnow.com and they seem to have a fair bit of it available, I've never enquired though so couldn't tell you how good the gigs are though.

[JTUK]

[quote name='lobematt' post='1315779' date='Jul 25 2011, 02:45 PM']I'm in the process of putting together a musicians CV complete with demos, youtube links etc, with a view to get some session work out of it. My question is though, who would I be best off sending it too?

Would it be labels, management companies, studios, all of the above or someone else entirely?

Cheers![/quote]


Nope..it is ALL about who you know.

You don't ask to do sessions, you get asked. And if they think you will fit then ok. Getting friendly with your local studio is ok..but you'll only get the odd job out of it, when a songwriter comes in and decides he wants real bass on the track.
Recording a real song with a real band needs a decent budget and those days have gone to large degree.

Of course, if you can make the jump to work that pays triple scale, then you will have done very well indeed..but those chairs are really REALLY sought after and even more-so affected by who/what circle you move in.

[JTUK]

[quote name='lobematt' post='1315977' date='Jul 25 2011, 05:25 PM']Yeah by session I don't mean just studio, I basically mean people calling me up wanting to give me money to play my bass! Which I know is far down the road and very hard to come by but I know it's not impossible.[/quote]


ok..this is dep work territory..and again..you need to network and get asked.

You can put yourself out there but this sort of contact can takes a long time to work its way through to getting dates.

[Doddy]

[quote name='lobematt' post='1315977' date='Jul 25 2011, 05:25 PM']Yeah by session I don't mean just studio, I basically mean people calling me up wanting to give me money to play my bass![/quote]

In which case,you've got to get out there and meet people,audition for bands(original and cover),sit in at jam sessions,maybe take lessons (I got
a lot of work by depping for my teacher at the time).You'll meet people and if you do a good job you'll usually get asked back.
How's your reading? There are more opportunities available to you if you can read.

You can send off CV's all day long,but you are an unproven player and people will always hire people that they know will be
able to do the job and this usually comes via recommendation.

[lowdown]

[quote name='lobematt' post='1315977' date='Jul 25 2011, 05:25 PM']Yeah by session I don't mean just studio, I basically mean people calling me up wanting to give me money to play my bass! Which I know is far down the road and very hard to come by but I know it's not impossible.[/quote]


Freelancing - all the same these days. Studio/shows/acts/gigs/tours/function band deps.
Reading & busking chops. Quick learner.

When any major theatre show comes to your neck of the woods, go to the stage door and ask for the Bass player,
Ask if you can sit in and watch the show in the pit. Get to know the players and get your name around.
Pop tours a different matter, you need to go to the company or Muso fixer - but it will still be on recommendation and CV.
You need to get to know as many muso's as possible, not just Bass players. Musical directors etc. They are the people who will recommend you to the
people that matter. Build a CV up.

One other trick, go to a well know player that teaches as well, get to know him and he will/might give you dep's if he thinks you are up to it.
Believe me, it works.
And as others have said - all the usual stuff like being friendly, reliable, consistant, and not show of music wise to impress.
Good luck with it all.


EDIT - me and Doddy typing at the same time...

Garry

Edited July 25, 2011 by lowdown

[risingson]

[quote name='lobematt' post='1315977' date='Jul 25 2011, 05:25 PM']Yeah by session I don't mean just studio, I basically mean people calling me up wanting to give me money to play my bass! Which I know is far down the road and very hard to come by but I know it's not impossible.[/quote]

The guys I know working as professional musicians are working practically every night down in London and around the country. None of them apart from one or two are working on only one gig. They do functions, studio work, dep work, reading gigs, they fly all over Europe and the world in some cases to get to where they need to be. It is incredibly hard work and sometimes for little in return. Unsociable hours. You need the drive and determination to get yourself out there and make yourself known to people asap.

[Owen]

You will not break into a scene that already exists. Any work you do will be with people who are on the way up. They are doing open mic nights as we speak. The big paying gigs (such as they are by now given the appaling state of the uk music industry) are already sewn up and there is a queue of 12 deps waiting in line. Why would Mr major label album producer hire someone he did not know when bass players x,y and z have been providing him with all he needs for years? The people who will need you are the decent singer/songwriters who are open mic-ing it at the moment. I know this through experience.

[davebass66]

[quote]The term session musician has two meanings these days.. the traditional term was soley for recording, now alot of people use it like the term freelance.

My advice, network practice, take all the gigs you can, network, be easy to get on with, network and practice and practice recording at home.. much I like said in another thread recording is a different beast to live[/quote]

Wise words brotherman!....

I hate it when freelance musicians call themselves 'session' musicians with absolutely no grounds to do so!
(rant ends)

[Ross]

Put your name out there, even gigs you don't want/ probably won't get.
CV's and business cards are cheap, get into the live music scene wholeheartedly, talk to some people and just drop into the conversation "Oh if you ever need a session bassist give us a bell" or something.

No use sitting at home trying to get some work bud, make yourself known, build up reputation and contacts in whatever way you can. Same as any established business.

[stingrayPete1977]

I think it would be a whole lot easier if you live at home with parents or mates digs etc and probably single or at least nothing too serious, I have ditched a couple of bands and joined 2 new ones in a new geographical area coupled to dep gigs, jam nights etc I think if I could play more nights a week (already about 3 or 4 nights) I would get more dep gigs, functions and stuff. I have had and will have more lessons from our own Doddy to try and up my game for this reason recently and he will tell you I'm no Marcus Miller or Pino and I wont be pinching anyones session work but from what I can see it does appear to be much more about who you fall in with at jam nights or local studios etc. Most bands, gigs, deps, recording etc have come from mixing with people at jam nights and stuff then when they see I can play ok for what they need (could just be mustang Sally stuff) and get a chance I'm always reliable with good gear which is just as relevant as playing well to many people. Like I say none of this would pay my mortgage but if I didn't have one or as many home commitments more time out there mixing with the right people could lead to at least a decent full time function band/club circuit etc. The more you play the better you get too so it should snowball, meet more folk, play more and play better, play more etc etc etc!

[scalpy]

Sometimes I manage to blag the odd session or two and if there's one thing that marks a good one that has everybody happy is the speed it all kicks off. If the songwriter or producer asks for something you have to be able to say "yes" and think of the part quickly, and play it right in one. There seems to be an inverse proportion to the amount of time you spend playing and the amount you get paid, in other words, the best session players only need to do two or three passes and that's it, job done. More often than not the key to this is the accuracy of the rhythmic playing and the feel you provide. Being gig sharp isn't necessarily good enough when you hear playback, you might find you're not smack on the one after a fill for example, and people like Nathan East will be, no matter what! What I've done to prepare for the next mystery session is actually practise recording with a jazz fake book and different drum feels. I'll do a few goes with a motown loop, then a straight rock loop, and just keep listening back for when I'm pushing (my worst habit). Todays standards normally dictate that every note is microsecond perfect with the attack of the rhythm track, the need for old school behind the beat playing comes across as sloppy now, with the two studios I go to. At one session the Keyboard player was in Joan Armatradings band and he was absolutely pedantic about note length, finishing every note at exactly the right point. For instance, one track required a funk style "one", but he wasn't just interested in the emphasis, he wanted every crochet to come off right on the tick of the snare just starting on beat two. Proper producers pay attention to this kind of detail, plus it really tidies up your playing. Sorry if you've heard all of this before but noticing this kind of thing has proven really useful for me.