Session Work (advice needed)

[DeanBass]

Hi everyone,

I have been playing the bass for about 10 years now and I'm looking to become a session player. I've done a bit before but it was just a one off thing. I'd like some advice on how much to charge and how to get in to the industry properly

Thanks

Dean

[brensabre79]

For rates, I'd look at the Musicians Union, you should join anyway!

As to how to get in to the industry properly, we're all trying to figure that one out!
Take a look at classifieds, get yourself a copy of The Stage and maybe get yourself an agent? Depends on what sort of work you want really...

[Dood]

Hi! For a guide on rates, start with the Musician's Union. There's a ton of information available including industry contacts and advice as well as support should you find yourself in a situation requiring such. You can also get sample contracts to take to sessions too.

My main advice is much like any other area of being self-employed in the music industry. Don't expect session work alone to pay the bills and with so many 'session players' out there, it's already a cramped market. Most studios, producers etc have their 'go-to' players already, so be prepared to prove you are a better choice! Expect to be faffed about with and do lots of travelling for good work. You will be expected to 'deliver on demand' quickly.

That rather depressing dispensary out the way, it can be hugely rewarding and there's opportunity to work with awesome artists. I personally don't use session or dep work as my main income, but I like to keep a hand in because it's great fun and as I say, really rewarding.

Oh p.s. expect that some artists believe you should feel lucky just to be in the room with them and somehow think your mortgage company takes 'facebook page shares' as payment lolz.

[JTUK]

Quick reply.... You don't ask, you get asked.

[DeanBass]

Thanks guys, I'll take all that in to consideration. I understand that there is no hard and fast rule, it can happen differently for different players, I just enjoy playing all styles with all types of musicians and want to get myself out there a bit more.

Thanks again for the advice!

[Bilbo]

Can you read? That helps.

[Dingus]

In my experience , it 's just as much about who you know as what you know. Particulaly if you want to get into the more glamourous end of the market in London , the musicians all seem to know each other and get work on each others recommendations. Getting known to the right people is a major challenge, regardless of how well you play.
Its also worth mentioning that lot depends on what you have in mind when you say session work- if you want to be laying down bass tracks for artists in London recording studios or doing music for a pantomime in Aberdeen. or playing on a cruise ship. All of these represent different challenges i.e for the latter two you are far more likely to need to be able to read music.

[charic]

[quote name='Bilbo' timestamp='1345646446' post='1779964']
Can you read? That helps.
[/quote]

Not being able to read but being able to type is pretty impressive though

[DeanBass]

I can read music to a certain extent as I used to play the flute before I discovered the bass guitar, however, I've not learnt how to read bass cleff.
Thanks DIngus, I'll take that in to account. Even at my early stage playing in a few bands I've noticed it's a lot more about who you know, musicians are going to favour those they trust and feel comfortable with already and rightly so

[OliverBlackman]

[quote name='DeanBass' timestamp='1345647834' post='1779980']
I can read music to a certain extent as I used to play the flute before I discovered the bass guitar, however, I've not learnt how to read bass cleff.
[/quote]

Its a different ball game. And I shall tell you why.
Yes its ok just simply being able to name keys and notes on the stave. But you've got to know where those notes are on the bass, what shape is best to use and you've got to know this as you fly through a piece. Try going through musical numbers, they're good fun to use as reading practice.

In terms of networking, become a regular at jam nights or venues where you know lots of musicians hang out. For example one is the friday night jam in Hoxton where Rick James plays.

[ras52]

Be known, have cards printed with a link to a web page with samples of your work, network network network, including events targeted at your potential employers, e.g. songwriters. Get to know local recording engineers, as they'll be able to say "I know someone who could play bass on your demo..." to their clients.

Re money, people have mentioned the MU but it's not a closed shop and you may find yourself pricing yourself out of the market if you ask for MU rates without a track record. Be flexible, but don't work for free! (And join the MU anyway.)

[OliverBlackman]

I found this ages ago, its worth a read. http://www.soundonsound.com/sos/oct98/articles/sessionmusic.html

[xilddx]

[quote name='OliverBlackman' timestamp='1345664684' post='1780296']
I found this ages ago, its worth a read. [url="http://www.soundonsound.com/sos/oct98/articles/sessionmusic.html"]http://www.soundonso...ssionmusic.html[/url]
[/quote]
What an absolutely fascinating read. Thank you!

[Lozz196]

Hook up with a good drummer who does session work. A drummer I know who does session work has often been asked if he knows any bassists who also do session work, usually as a job-lot so to speak, session bass & drums. Hopefully, now we did our first batch a few weeks ago, he`ll recommend me from now on, but he says it was a question many people asked him.

[swanbrook]

I have done a fair bit of session work, would have done more if I could read !
This for me gets me work

1.  Be prepared
2.  Be respectful of yourself and others
3.  Be punctual
4.  Play what's required
5.  Have a good attitude
6.  Acknowledge that we were given a "gift" and be thankful for it
7.  Excercise good people skills

[JakeBrownBass]

.

Edited January 19, 2013 by JakeBrownBass

[OliverBlackman]

[quote name='swanbrook' timestamp='1345679869' post='1780548'] I have done a fair bit of session work, would have done more if I could read ! This for me gets me work 1. Be prepared 2. Be respectful of yourself and others 3. Be punctual 4. Play what's required 5. Have a good attitude 6. Acknowledge that we were given a "gift" and be thankful for it 7. Excercise good people skills [/quote]

Firstly point 6 kind of suggests you think you were born a bass player, and didn't have to practice.... If thats the case you are a miracle and there is no one else like you.

Secondly, these points tell you how to maintain getting sessions once you have already had a session. How did you get your first session? Did someone contact you, did you know them? Thats the information thats really useful and 9/10 it's either, "yeh I knew him from school" or "I met him at a party." Do you see what I mean, and then from the guys I know that are doing it, it's the same guy that keeps calling, or it's one of his friends, or someone they did a session with in the past ect.

[Dood]

[quote name='JakeBrownBass' timestamp='1345679887' post='1780549']
The session world is nothing like it used to be. IMO there is no such thing as being a session player anymore.

Being called up to record in the studio nowadays is a thing of the past with modern music, if an engineer can use a keyboard & computer, they will because it saves time & money.

The industry has changed a lot, so to get into to it you have to know the guys that are still doing it and they have to call you, but it wont pay the bills anymore.
[/quote]

Yes, this! I get asked to do 'remote recording' in my own studio and then send the stem files over. No studio costs, no engineer time. Hell, with the technology we have these days, many bands are doing an album in their front room!

[DeanBass]

[quote name='Lozz196' timestamp='1345679155' post='1780540']
Hook up with a good drummer who does session work. A drummer I know who does session work has often been asked if he knows any bassists who also do session work, usually as a job-lot so to speak, session bass & drums. Hopefully, now we did our first batch a few weeks ago, he`ll recommend me from now on, but he says it was a question many people asked him.
[/quote]

This is an interesting point because a drummer I used to play in a band with (and also a good friend) was doing some session work for a singer/songwriter and put my name forward as a good bass player. I was sent some demos and asked to come up with some bass lines for them.

As it was relatively new ground for me (and also because I'm such a nice guy haha) I did most of it for free. Although it went really well and the guy was chuffed with the outcome, I haven't heard anything from him since the last session at the start of the year. It was great fun jamming with some great musicians though and it was a great experience.

[DeanBass]

[quote name='OliverBlackman' timestamp='1345664684' post='1780296']
I found this ages ago, its worth a read. [url="http://www.soundonsound.com/sos/oct98/articles/sessionmusic.html"]http://www.soundonso...ssionmusic.html[/url]
[/quote]

Thank you, this is great. Also thanks everyone for your words of wisdom!

[derrenleepoole]

Always be nice and always be punctual. Good manners get you a long way in this world

[shizznit]

JakeBrownBass and Dood are spot on. Since Christmas I have done two jobs at someone else's studio...that's it. It's much more cost effective for both parties if you record your job at home and thanks to the Internet and low cost home recording software and hardware being able to work from home is a lot more easier. Fortunately, bass is pretty straight forward to record.

The only draw back is that you don't have the producer/engineer or song writer watching over your shoulder to guide you and there is a little bit of pressure on you to come up with the goods in the way that they want it. So, your communication skills have to be very good to make sure that you nail it. When I finish a job and send it off it's quite an anxious moment waiting for the job owner to get to you with feedback!

This industry is all about networking and though the Internet has made that easier it has also made it more competitive. Hand on heart, I have been very lucky. It really has only been in the past couple of years that I have been able to work as a pro musician. I worked for a label that a friend owns a while back and their profile has shot through the roof. They have worked with other bigger artists and labels and I also worked on those projects. A lot of my work comes to me by word of mouth from those projects, so I am pretty damn lucky. It's taken 8yrs to get here, but it was very much being at the right place at the right time for someone to notice me and were in the position where their music had high enough exposure to be able to get the referrals for me to work with other artists and producers on other labels.

Sweet! But, it's very tough going. I still have to fit in time to play live for two bands and teach 4 students in my downtime to earn enough money to keep a roof over my head, put food on the table and keep my car on the road. Like Dood said, this job can be very rewarding, but with any self employed vocation you have to put the work into it and deliver. Breaking into this industry as a hired gun happens differently for different folks, but unfortunately the stigma of knowing the right people is often quite true and that comes by with a little luck no matter how skilled or professional you may be.

[Faithless]

it's an interesting thing that goes around on on in these kind of topics - how do I become a pro, session work, etc etc.....
It's of course very important to network, be punctual, own realiable gear, etc etc, but the thing that goes BEFORE everything else, and I mean EVERYTHING, is being able to [b]play[/b].
You Have to be able to improvise, you have to have your chops high up in there, so that you pull out ANY stuff, that might come in; know (and be able to play) different styles, etc... but first of all, it's all about playing - it doesn't matter how hard you network, and how many cats you might get to know, but if your playing is not happening, then you won't get there.

[swanbrook]

[quote name='OliverBlackman' timestamp='1345711325' post='1780694']


Firstly point 6 kind of suggests you think you were born a bass player, and didn't have to practice.... If thats the case you are a miracle and there is no one else like you.

Secondly, these points tell you how to maintain getting sessions once you have already had a session. How did you get your first session? Did someone contact you, did you know them? Thats the information thats really useful and 9/10 it's either, "yeh I knew him from school" or "I met him at a party." Do you see what I mean, and then from the guys I know that are doing it, it's the same guy that keeps calling, or it's one of his friends, or someone they did a session with in the past ect.
[/quote]
Work gets you work, getting one gig might lead on to another and then might lead to some recording and so on. I don't think anybody has ever picked up a bass today and became a pro session head tomorrow.

But before any of that happens it helps, well helped me to have these "rules". I don't think I am a great bass player by any means but I have made a good life from music playing bass. Am I ever going to get a dep gig for jamiroquai no but I do provide a good life for my family from music.

[shizznit]

Another contentious discussion I have with pro musicians is the sticky topic of reading music and theory knowledge. Is it necessary?

A good friend of mine is a pro guitarist and is unable to do neither...even struggles with tabs. But, he has a great touch and plays beautifully. He comes from the school of 'good feel and style' and that has been serving him well for 20yrs. We have had this discussion many times. However, I think a bit differently to him.

It is important to be able to play well and have your own voice as a musician as you won't stand out enough for people to notice you, but backing yourself up with the ability to read music and have a musical theory conversation with another musician is important. I can read music, but I am awful at sight reading. I have a good understanding of music theory, but I would never get the job with The Report if they ever decide to reform! So, I guess I sit in the middle if I am honest.

I work with a lot of guys that are great pianists and to be able to have a musical conversation with them and understand what they want me to do in a passage of music makes life so much easier. When you are on the spot and folks are paying for your time I think its important to avoid embarrassing situations whereby you fail to understand and apply basic theory to what you are asked to play. For example...if you are asked to move the relative major or minor in the key you are playing in and start guessing by hunting for the notes you are going to look like a prat and their confidence in you will shorten. Its embarrassing when you can't even get the basics right.

Not every person I work with has a high aptitude of music theory or are able to read music, but you will work with people more than often that do. For me, its important to keep on top of that because I don't want to limit myself to music genres as a working musician and keep myself open to potential work with other song writers that will throw in a challenge that I can cope with confidence.