Session work

[ThomBassmonkey]

I fancy getting into some session work, I think I have the playing ability to do it and I have the freedom at the moment to be able to accept jobs when they're available. I'm also in quite a good situation at the moment where a lot of musos around Derby have heard of my band, so I can probably use that to my advantage in terms of building a reputation.

My current gear is an Ibanez BTB406QM and a Warwick Thumb 5 (I hope, when it's fixed), but I'm thinking of getting a Jazz for a more "standard" instrument (and I'm GASing for one anyway) and I'm running a GK 700RB into a 210RBH so I have confidence in my gear to do the job (and I assume I'll be DI'd most of the time anyway, so amp isn't an issue anyway).

So the big two things are:

How is the best way to get into it? I've thought maybe getting in contact with a studio and seeing if they need a bass player on call for any work, but I've not tried yet so I don't know if they already have their own or what the deal is. I don't really have any contacts on my own, so anything I do will be a case of relying on either my band's reputation or the gift of the gab. I've done bits of live session work before, but only for friends of friends for gigs, learn the set in a couple of practices then get out and play a couple of sets per night type stuff.

Sight reading is my only drawback in terms of skill, how vital is this? I'm quick to learn (or write as the situation needs) lines by ear, but I just never translated sight reading on piano to bass, and I haven't played piano properly for years (almost 20 in fact). Is it worth holding off trying to get work until I've had some lessons in sight reading (I'm useless at inspiring myself to do it, so I'd need lessons for the structure) or should I go for it and not do the lessons when I have the cash?

[Bilbo]

I can't help with any of teh detail, mate, but woudl recommend strongly that you deal with the reading issue. Not all sessions are studio based; many are live and require on site reading skills (shows, deps etc). If you have paino reading skills, this should not be too difficult a piece of work for you. Get your head down and nail those dots and you will open up a world of work for yourself.

[51m0n]

+1 to Bilbo

And dont underestimate reading chord charts either....

[jakenewmanbass]

This question comes up from time to time. Do you mean studio sessions? if you do the reading is essential. There are not many sessions and the ones that there are are done by some extremely capable players. One is not always expected to sight read on a session but if you are required to and you can't your chances of being called back are nil, and being called back is the single most important developmental step in any music career.

[steverickwood]

In my experience, flexibility in styles, flexibility on the part that maybe you create (ie from listening or chord chart - the producer/writer may request details such as articulation/tonal/beat placement adjustments...and all those other significants), and the ability to get along with people goes a long way.
I think it depends upon the type of session too - there are those head down and read it types, there are some cool creative sessions where you are called for you input; either way, you are being paid to do the best job you can, efficiently (time vs money...) and to not be a pain!
The way the industry stands, it seems there are less players going from big session to big session so they key in many respects is to say yes to lots of smaller paying gigs that keep you working.

Plus, the internet allows a greater deal of social networking thus people are easier to reach so put your name to them. The flipside of course, is that everyone is doing it!

And, defo ditto the guys above.

[Doddy]

Once again,reading is essential unless you are a well known enough to be hired for your own style (players
like Pino,for example). You should also be able to construct lines quickly from either a chord chart or just
having a quick listen to the demo-therefor having a very quick ear is very important. You also need to be
comfortable in a variety of styles,unless you want to be a 'stylist'.
As far as getting the work,-that's a tough job. You need to develop a reputation as a player before you are
offered the gigs. I don't think that calling up studio's and 'blagging' your way in will work. Usually they will
have a pool of players that they will call who they know will get the job done quickly and correctly.
Your best bet is to try and meet the 'serious' players-not the guys in other bands that are on the same circuit
as you(although this is important too),but the players who are doing the sessions and other work like theatres,
tours etc. They often have better reputations as players than the band guys,and if you can prove yourself to these
guys as a reliable and versatile player who gets the job done well,they are more likely to pass you number on to
the MD's who book the sessions.

[steverickwood]

Its true - knowing the MD can be a surefire way to work - he/she will often call players they know/trust.

[ThomBassmonkey]

Thanks for the advice, I have a relatively quick ear (I teach guitar and bass to beginners/intermediates and often have to learn a song on the spot to teach when they bring them in, usually nothing too complex though, though it's usually chord inversions that trip me up, not bass lines) so I feel confident about that and working from chord charts. In my bass playing "career" I've played everything from pop to metal to RnB to 70s rock, so I'm happy playing any style too. Can also do fingerstyle and plectrum without any problems (I need to properly learn slap though).

Sounds like the thing to do is try and get my name around a bit then and meanwhile get some lessons in for sight reading (and I should do slap and brush up on as many styles as possible).

Thanks for the advice again.

[steverickwood]

Do it! And have fun - thats the real reason for playing hey?
I didn't read music so I took lessons at a considerably late stage but managed to get a reading gig within a year and a half of starting.
Wish you the best with it:)

[lowdown]

Apart from whats been said above....
Its getting to know a variety of other Musicians, MD's, Fixers etc, not just Bassists.
Look for your local theatre and find out what show is on,
Go to the stage door and ask the Bassist if you can sit in and see a show [from the pit] get a feel for whats going on.
Try getting into a band outside of your circle, a function band possibly......
You are going to have to do a lot of networking, good pro attitude and musician skills alone wont do it if
nobody know's you are around.

What about trying to grab some dep work from guys on this very site?
Advertise in the Bass players wanted/available section..it all helps.


Garry

Edited May 27, 2010 by lowdown