Advice for a 19-year-old guitarist who wants to be a session musician.
2009-01-10
I got an email today from a 19-year old guitarist from Alabama who wants to be a session guitarist, is tempted to go to Musicians' Institute in Hollywood, but is overwhelmed by the expense that would put him into debt for decades. He asked my advice, so here it is:
School won't give you much you can't give yourself, if you're motivated. All the knowledge in the world is out there in books, CDs, and videos available for $0-$100.
You could be a disciplined mofo and dedicate yourself to 4 hours a day of intensely focused practice, devouring every instructional resource out there. Learn to play along with everything from jazz to bluegrass to classical to shredding metal. Study every guitarist you've ever heard of, and learn how to imitate them, so when someone says, “Give me a Jeff Beck style slow tremolo tearjerker,” or “We need a driving 12-string acoustic stomp like Leo Kottke with Busted Bicycle.” - then you know what they mean and how to do it.
Besides just imitating the virtuosos, you should be able to be a tasteful rhythm guitarist for many different genres, including samba, James Brown funk, Delta blues, dreamy new-age, etc.
All of this costs you almost nothing. You can do it at home while keeping a part-time job to save some money.
Give yourself a future goal, like “By my 21st birthday I'll be able to play, note-for-note, the 3 definitive pieces by each of the top 50 guitarists across all different genres. And I will have saved $10,000.” Work your ass off to meet or surpass that goal.
Then on your 21st birthday, move to LA or NYC. Get a cheap apartment right in the middle of everything, and commit yourself to learning the social skills needed to be the guy that people call. It means a few hours a day of meeting everyone you can, being around the studios where people are hiring session musicians, being a good listener, being positive and helpful, keeping in touch, etc.
(I made a living as a session musician in NYC for a few years. I'm a good guitarist, but I swear the reason I kept getting called is I would find a way to appreciate whatever crap they played me, telling them that it's awesome. It was a white lie but a good one, because people can be really insecure in the studio, and need encouragement.)
Be humble and constantly learning, understanding you've made a many-year-long commitment to mastery. Some may scoff at you for being the new kid in town, so agree with them, respect their experience, and make sure they know you're committed. So few really are, that you're sure to stand out.
Do some research to find out who the top session guitarists in town are, and find a way to meet them. Let them know they're your role model and ask for advice. (Like you did with me, just now! Pays off, doesn't it?) :-)
Good luck. Let me know how it goes.
I know I've got some wise and experienced readers here, so if you have a minute: What advice would you give this kid? Please leave a reply in the comments, below.
In Japanese: セッションミュージシャンを目指す19歳のギタリストへのアドバイス
Play great (appropriate is part of great), be easy to work with, and get to know the people that are doing what you want to do.
Pick three very BUSY music studios that use a LOT of session guitarists. Make sure they are in the same town. Get a job or volunteer as a custodian in the studio. Try to do your work outside of observation time and work to GET observation time. If you notice ANY licks you can't do, learn them. Over time, make yourself available for any session guitarist who is sick or late with a sound engineer that you have made friends with. Make friends with EVERY sound engineer in the place. Become their personal assistant in the studio. Work for your chance and have the guns once you walk in the door.
This may be a little out there, but think about how many great guitarists have made a internet presence on youtube with some really amazing videos. All of the advice you gave is really great, I couldn't have said it better, but it may be worth putting yourself in youtube - you never know where those videos end up.
I've done a lot of session work and the most valuable skill seems to be the ability to come up with the 'right' part quickly. I disagree about compliments being the key to success. In most sessions I've been in, no one wants a 'yes man' - they want someone to come in and play that part they wanted, but didn't KNOW they wanted.
The key is versatility or specialty. Either become knowledgeable about as many styles as possible, or become known as THE guy for your particular style so they HAVE to call you when looking for that style.
You hit on the key element - how people perceive you as a person. I know plenty of successful musicians, session and otherwise, that are successful not because they are the best player in town, but because people want to work with them. They are fun, nice, hard working, understand the game, and get that just because it's music doesn't mean you can be unprofessional. Things like common sense, showing up on time, being prepared, and appreciating the work win out over being a killer musician 99% of the time. You don't have to be the best, you just have to be able to get the job done consistently and reliably. Having said that, practice and learn every style you can, because flexibility will allow you to create a long term career.
I agree with everything Derek wrote here & I'd like to add something. I know a number of session musicians & the number one skill they all have in common is that they are able to read charts & they are able to play these charts that are put in front of them for the first time like they have been playing the music forever! This is a skill you can learn on your own starting right now! Watch videos, live musicians, study music on your own, read books...Where there is a will...there is a way!!! Dare to dream...believe...
There are some great schools that don't have to cost an arm and a leg, that would help perpetuate the drive and structure, if that is what's needed.for example Humber Jazz College in Toronto.
My husband on the other hand is a really really successful session guitarist, and took maybe 4 lessons in his life. He played as you say, every day for a few hours and as you say, obsessively practiced the riffs of all the greats. He can play along with song in any key at any time even if he has never heard it. He picked some really horrible unpredictable musicians to play with so he could anticipate what would come next.He can, and learned how to play his guitar to a song, in key and pitch when the strings are tuned all wrong. This is because he trained himself to be flexible and expect any situation. He practiced for two weeks increments duplicating blues licks with each string on the guitar broken at different times. example, with a broken e string. He found ways to make it happen on the kneck.
This is what sets him apart from that dude who is not booked all the time.
the other observation about my husband is, that he never ever, and I mean ever says anything bad about anyone. ever. He never has anyone's face attatched to the bottom of his shoe. He treats everyone he meets as a friend of a potential client.
i hope this helps.
Great advice. To it, I'd add a few things:
1) Add Nashville to the list of cities to move to, there's a huge session community there, especially for country.
2) Be versatile beyond just guitars. Be able to play a little banjo, a little mandolin, a little ukelele.
3) Play bass. It'll make your rhythm better.
4) Check your ego at the door. Permanently. If you're a supreme player, your reputation will precede you, and if you're a humble, cool guy, you'll get tons of work on that basis alone. Nobody likes to work with a tool.
5) Make sure you know alternate tunings. Drop D, DADGAD, Orkney, open G, etc.
6) The advice about being a great rhythm player is SO important. You can't swing a dead cat without hitting a good lead player. If you can play solid rhythm guitar in multiple styles, including rock, blues, country, pop, disco, jump swing, bebop, etc, you can work anywhere, anytime. Get some serious fingerstyle going too.
7) Listen, listen, listen. Listen some more.
8) (and this may be the most important one) BE PROFESSIONAL. Show up when you say you're going to. Be entirely self-sufficient with your rig, completely self-contained. Play what they ask for, but be ready with your own ideas if they are solicited of you. Don't drink. Don't do drugs. Don't gamble. Do it because you love the music. It will show in your playing, and you'll be well-paid, and sought-after, and not dead.
The availability of instructional videos from the masters is unbelievable. Homespun is a fantastic outlet.
Go to guitar camps, to learn, to relax, and to network. A LOT of workign studio cats supplement their income (and get a working vacation)by doing camps like The Swannanoa Gathering in Ashville, Fur Peace Ranch, and the like. You will learn TONS and meet fantastic people.
I would definitely check out a killer new book written by my good friend Mel Brown (Grammy winning bassist and professional sideman) called "From Zero to Sideman".
http://www.fromzerotosideman.com
Also, I've played on over 150 CD's as a sideman myself, and I think the best way to find yourself ending up on CD's and demos is by investing energy and heart into artists you believe in, usually un-famous ones. Help them pull off gigs, write songs, find a studio to record at, find a graphic designer, find a booking agent, shrink wrap CD's, help them by coming to their shows, buying their CD's etc... and it can happen automatically, if you're skilled at playing to back it up. Same thing applies to studio owners, engineers or producers- help them and show yourself useful and fun to be around. Even if that means just making them coffee initially.
Derek, that's some great advice. It really does just come down to whether you can execute and social skills, with more emphasis on the social skills.
Many times, being too good can be a turn off to producers. After all, they usually won't want tons of shredding on their songs, and rather would have some tasteful fills, and solid rhythm chops.
Most songs don't even have complex guitar parts, but need the tight rhythm parts to make it mesh. Getting your rhythm and timing down is probably the most important thing you can do. So practice with a metronome or drum machine even though it can be boring as hell.
I actually interviewed 6 top session guys from the nation, asking them how they made it, what skills and qualities you need, what gear you need to have, etc. and put it into an audio download on our GuitarPlayerZen.com site.
It's about 7 hours of audio, and it is geared towards people just like this Alabama kid, who are interested in seeing what is necessary to become a successful studio/session guitarist.
We are really proud of it and know that anyone interested will really get a lot of value from it.
In fact, to anyone who is reading this post and one of my favorite blogs out there, you can get yours for 50% of the list price of 34.95 with the code "SiversGuitar"
Don't use the quotation marks. And this discount will only be available to the first 50 who use the code. So don't wait!
Just click on the link on my name and it will take you to the page.
Good luck Alabama boy!
Since there are so many musicians in a place like Los Angeles, you might assume that the session world is fiercely competitive. But there will be NO competition for you if you are:
1.) Highly organized,
2.) Punctual,
3.) Aggressively Responsible.
There are plenty of creative and talented musicians in the world. But most of them can't get anything done.
I audition and hire musicians regularly in Los Angeles, and the above three things (most importantly #3) is what I look for.
I have contracted a particular Los Angeles guitarist for regular studio work because of it, which has amounted to thousands of dollars of income for him in the past couple of months.
As an aside, he happens to be a graduate of M.I., but nothing can replace the above three points.
There's a real world example for you.
-Carl.
I would agree with the above comments.I have personally hired less skilled players with good attitudes over higher skilled players with bad attitudes.It shows in the music,the atmosphere is much more relaxed.
Be on time. Call people back right away. Keep your promises. Show up sober. Ask for the work. Thank people. Deliver. Be the most prepared person at the session. As Derek says, openly appreciate the music you're playing. Leave them with a good feeling. Make people feel smart for hiring you. Make friends with other solid, professional players and bring them in on opportunities whenever you can. Don't bring drama. Figure out how not to get caught up in the drama other people create.
Derek's advice is sound. I'd probably recommend getting some side skills. A two year degree in something other than music while practicing 6-7 hours a day would be good.
Running a studio I've got access to at least a minimum of 4-5 really amazing guitarist, but I use the ones I like more. If I'm going to be hours working sessions with someone I want very cool and very professional. I don't want my clients waiting on someone to figure stuff out, so you had better be really good. You must be able to read numbers, chords, tab, improv, and gargle peanut butter all at the same time.
With that said why don't you go out a play with a band, see the world, no what broke really means? Why lock yourself up with me in a studio at 20 years old?
Aside from the things people have already listed here:
Having a business card handy at all times with your contact info on it and have a website that you can direct people to.
I can't stress enough how important it is to be on time. Also, know the material inside and out. If you are not given charts, make them, it helps in the mastering of the material you have to know.
All of the above is great advice - especially the bit about learning all the different styles, and having a tremendous musical vocabulary at your fingertips. Do the same with effects - know how to use a wah, an overdrive pedal, an echo unit. While you are learning to imitate all these different guitarists/styles, develop your own!
And the one thing i did not see: Learn to READ MUSIC - REALLY REALLY WELL. Even badly written charts. Probably a combination of reading and your ear is what will get you noticed, but as has been said: Call people back right away. Keep your promises. Show up sober. Ask for the work. Thank people. Deliver. Be the most prepared person at the session. Be humble and constantly learning, understanding you’ve made a many-year-long commitment to mastery. Some may scoff at you for being the new kid in town, so agree with them, respect their experience, and make sure they know you’re committed. All the best - !
In lieue of taking a time machine back to the 1980s when you could actually make a living as a session musician, I'd add: SPECIALIZE. Take one thing and be the best in the world at it. Being the best country guitar soloist or being the best at recreating guitar samples from obscure records will get you work. Mastering "the hang" (social skills as Derek points out); being fun, funny and the cool guy that everyone wants to hang out will get you work. Oh and learn to run your own sessions in Pro Tools like you know the back of your hand.
1.) Learn to READ music. Chord symbols, rhythms, notation, the Nashville number system. Being a session musician means not only being able to play in any style and with great taste, time, and groove, but also to be able to read ANYTHING that's put in front of you when it is. (If you really want to do serious session work and make the best $$.)
2.) Learn to love and play in ANY style and imitate anything and anyone out there. Someday if you make a name for yourself for the uniqueness of your playing, you'll get called on for who you are. But until then, for the most part with very little exception, it's about recreating what's already been done.
3.) Be extremely extremely humble and die to your own desires musically on the gig. You're never there to serve yourself. You're there to serve the tune, project, producer, client, etc. If they want you to sound more like Crispy Cheesy Puffs for the jingle, don't be too proud to sound more like Crispy Cheesy Puffs. It's NOT about you. It's only about YOU when you cash the check for the new gear and work on your own tunes at home.
4.) Learn to think like a producer - what sound/style/riff sounds best here? Do I need to play here? How much?
5.) Learn the art of "less is more."
6.) Develop impeccable time. Practice EVERYTHING with a metronome, drum machine, etc. Record yourself playing without a metronome. Listen back and tap along with it. Do you rush? Drag? Drop beats? The recording won't lie. Get used to it. Every note you play in the studio will be under a microscope.
7.) Develop an extreme sense of groove and playing in a pocket. If you don't know what that is yet, find out.
8.) Read every magazine article you can find written about great session guitar players.
9.) Learn every famous solo and part by Larry Carlton and Steve Lukather. If you don't know who they are, you had better find out.
10.) Don't just be on time - be early. For musicians, being on time is being early.
11.) Have great gear, know how to use it, and make sure it WORKS and there are no issues.
12.) Realize for every gig that's out there, there are 300 great players wanting it that can do the gig very well. It's amazing how many great musicians are out there lurking beneath every rock.
13.) Network, Network, Network.
14.) Be extremely easy to work with, pleasant, and professional.
15.) Be able to work fast and on the spot, in the moment. Time is dollars.
I could go on and on . . . does that cover most everything?
I wanted to jump back in...YES...all the points above are a MUST! Organized, punctual, responsible, NO DRAMA, no egos, being sober, SOCIAL skills~being NICE & leaving the ego at the door...all of these things are so vital! Two session players that I've hired many times over the years to play with me also tour with many BIG artists regularly because of all the things mentioned above & because they are pleasant, easy to work with, professional, courteous & they come in prepared...they don't over play, or play to loud...they ENHANCE the song & realize that it's about the music & not about the ego...
The best advice ever given to me was “Surround yourself with people who are better than you”. In hindsight, that advice has paid off in so many ways. Just being around them will give you so much insight to the business. It will also bring you a career of longevity.
Unless you’re some freak of nature at 19, you are not ready or experienced enough to work professionally (on a regular basis as your living) with other professional session musicians. The best thing you can do is get a guitar tech job at a cartage company and schlep someone else’s gear to sessions and learn how different session players set up their rigs, their choice of gear and why. You will also get the opportunity to walk in at the tail end of closed sessions where you will see the swagger and hear the lingo used in a professional atmosphere. I agree with Derek about school. They can teach you rhythm but they can’t teach you feel. You have to learn that on your own and it doesn’t happen overnight. It usually comes from a variety of influences from people who are better than you.
Travis
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1. Learn to play with a click track! 8^)
2. Read a lot more Sivers.
3. Learn to write. At some point, you'll want to decide how a track should sound.
YOU'LL want to decide. (see above)
All I can say is be a professional. If your doing studio work, your not painting the mona lisa. Your a utility. It's unromantic but highly profitable to the man who masters his craft. Save your art for yourself and your own projects. Put your technical skill and professionalism to the forefront. I know people skilled beyond measure. But they have not taken on the persona of a professional. And so they don't work. In my experience, studio work doesn't feel like art. It feels like work. Unless your recording for your hero or something. However, for many, it is very fulfilling to be the guy that made a project excellent. If thats your dream be everything everyone else has said. Its a business dude. All the best.
Steven Wylie
That's some great advice. You can learn to be one great guitar player, among so many of them out there. There's always room for more.
And I'd suggest (while you're out doing all the other stuff), to let your mind play with the idea of creating a unique sound that you could develop on the side as well. Something you might specialize in (so-to-speak) that other guitar players don't do (or don't do so well). I'm talking about getting creative here and finding a way to make a really cool sound with your instrument and then perfecting it, so you can offer it to your clients. In our productions I'm always looking a few unusual sounds to add to our recordings, something that stands out a little, something for the photos on the insert. Maybe a spoon on a guitar?
Good luck to you!
I guess one of the things I would like to hit on which has not been said above is the "money". Keep it secondary at the start atleast!
I know its about making the money, but the way I see it, the more regular work you get, the money will follow! so in the start, be ready to work for whatever you get paid and work hard. Soon you will be able charge your price!
Concentrate on building your reputation as a guitarist and like Derek says, someone who is versatile and helpful. Whenever I played sessions here in Bangalore, India, what I noticed is that producers / music directors like to call back musicians who were experimentative and came up with multiple options for each riff / solo etc. instead of just waiting to get done and leave!
Best of luck! Saying all this is easy for us to do .. you have quite a task in front of you now
Do what makes you feel good
The most valuable aspect of being a session musician, in my opinion, is the ability to not just play but truly appreciate many different kinds of music. A studio musician sees himself as serving an artistic vision other than his own, and in doing so, must take personal passion and pride in the work, even if it is not his. This is much easier if you have a context from which to appreciate the music you are being asked to make. What this translates to is know how your guitar can fit into R&B, Hip-Hop, Reggae, Latin, Rock, Country, etc... that will keep you paid and working, and will build a resume quickly.
Great advice! You might consider Nashville too. Most people think it's just a country town, and there's plenty of work for those who play country. But there's a massive rock, pop, and Christian scene here too. If you're interested in playing in studios for a living, follow Derek's advice, then move to Nashville. It's waaay cheaper than NYC or LA and you can get plugged in and connected with even big name artists in a hurry. Try writer's nights and watch craigslist ads. There are some great musicians who ask for players on there.
Practical tip: find a large church and audition to play in their worship bands. It's unbelievable who you can play with at church here!
All of it is killer advice, as are the comments. But one of the biggest things you need to remember is... as a sessions player.. nothing is ever about you. Spend all your time once you arrive on the scene trying to find any and every way to help other people succeed in their dream by helping in any way you can from references to playing to connections, and you'll soon become everyone's go to guy.
It's not about you. It's about them. That's your mantra.
The best people out there are as talented as you. Your best shot is to be talented + hard working + likable. That will keep you hire-able.
Work is work. The fact that it's music doesn't make it easy. Slack off and it's just as bad as slacking off in any other job. It's only less noticable until it's too late.
All the advice already posted is really good, so I'll try not to repeat what has been said already. Learning to read chord charts is important and if you can read written melody, that will come in handy sometimes. If you can learn melody quickly by ear, that works, too. Always listen closely to what the producer wants and try your best to deliver that. Maybe you already play both electric and acoustic, but if not it would be good to have both available. Session work is very rewarding and I wish you the best of luck with it.
Best wishes,
Bruce
Great advice Derek, and very comparable to how Charlie Parker became amazing (got embarrassed early on at a gig, took 3 years of practicing 12 hours a day and learned every song in all 12 keys). Talent does have to be factored in, but it is def a mix of talent and maturity. Besides the music end definitely learn all the ins and outs of music industry (read Passman!) and network network network.
Exactly what Derek said...
Practice, practice, practice.
Then
Network, network, network.
There were many great guitarist before we had all these music schools. If you want it you can make it, even without the huge amount of educational material, just by listening and playing your ass off.
And one more thing: As more and more large studios close, working from home or online becomes a new perspective.
I'm working from our studio, in our house way back in the bavarian countryside.
Besides our own cds we produce music for a publishing house and deliver everything via FTP. Meetings twice a year are only for fun and personal contact.
Many big names in the studio scene do online work now, playing on tracks they get from their customers.
Living in a remote location can lower your basic costs dramatically, you get clean air and beautiful scenery on top.
We are very happy that way.
I have worked with many professional guitarist and none of them are from music school. And I know some musicians from music schools, to be honest, musician who developed his own skill by himself has got more edge and character in his playing style. Just an opinion from my observations. I am not saying that music school is not good. I personally did enter into a music school studying Audio Engineering, which gave me lots of exposure to areas that I've never thought of. However, I must say if I have spent the money buying myself audio equipments and built my own rig and spend more time daily practicing making music in my basement, that can be an alternative too.
And in order to make your music career life longer, money management is also one of the major issues which most of the artists/ musicians are lack of.
Just one more thing I want to add, which is: If you are really that great, people will come to find you, no matter what background you are coming from. The music industry is constantly looking from fresh blood to fill up their NEW PRODUCTS category.
Professionalism goes a long way. It goes even further when applied in excess in places, or at times, when it is not necessary.
Example: you are playing a shithole club somewhere. Do you A: consider it a shithole club and not bother bringing half your gear, or B: bring everything even if you won't get to use it, and make sure everything goes together good and quick?
I turned up to my final solo recital at uni with three quarters of my gear (about all I could take with me). I did the whole hog. They were like "why??? why did you bring all that???". At the previous year's solo recital, I brought an acoustic guitar and did some really simple acoustic songs... mostly strummy. Did it show what I could do? Not at all. I decided to give it a big blast at the final, though. And it was worth it.
I brought: PODxtPro, tube preamp, Ct ZEN Vision:M (for backing track), Behringer FCB1010 floorboard, guitar, rackmount for POD and preamp, heavy cables (chunky studio XLRs), Y cable to get a feed from the ZVM, spare picks, my gig clothes, a teatowel and myself.
I stood there and did exactly what I do in my 'band', LeitmOtif, except with the fun of playing some Cure covers as well as my own stuff.
My point is the effort and the professionalism there just really made an impact. It made an impact on those present at the recital (not many people, really) and made an impact on myself because I had fun using ALL my gear and doing properly. I put more in. In fact, I was sweating after The Cure's 'Disintegration'. Hence the teatowel.
AJT
The professionalism message can never be over emphasised. A key mantra is "do what you will say you will do". Another key thing is to remove ego - at least on the outside. Knowing you are great will give you the confidence, but don't appear arrogant.
Starting off for me was doing a lot of recording sessions for bands I was in and doing the best job I could and responding to the engineer and producer. Developing those relationships will mean that next time they are stuck for a certain sound, they will remember you.
Just to emphasize the main points again:
Professionalism and listening.
It's like life - just because you go to college or even get an MBA or graduate degree - it's no guarantee of a job, success or anything.
Look at all the moguls who dropped out of high school or college.
Motivation is much more important than formal schooling!
Tough one,
Take every opportunity.. when i was 18 a friend of mine had a birthday party and his mate was sharing the party with him.. he was an apprentice engineer at Big Jim Sullivens studios.. Jim Sulliven played at the pary with his band.. in the break i chatted with Jim and he asked if i wanted to get up and play the guitar.. i declined. That was the wrong thing to do, i had an opportunity to impress the guy who had given guitar lessons to Ritchie Blackmore and Jimmy Page and was the top session muso in England.. But i lost my bottle.. The next time fate came my way when i met a fixer by chance in a pub i did'nt make the same mistake..
I hate saying this but 'it's who you know and if your in the right place at the right time'.. so to increase your chances of doing that get out there and get yourself about.. go to gigs, talk to the bands, do auditions and don't be ashamed to hold down a crappy day job to pay the bills..
If your committed enough and focus on what you want things will happen.. just don't make the mistake i did if your asked to get up and play, whether you are.. just do it!
Nev
the music biz, like life is all about relationships! Without good relationship skills your talent will only get you the first contact!
the other commonsence advice offered above is also very good.
great post!
Well, let me get a little philosophical here. There are two things that have taken me furthest away from the real reason I play guitar. One was school and the other was trying to make a living as a musician.
Be sure that you know the reason why you want to play, or at least are looking for that first. Once you know this, no one can take it away from you.
That is one of the best responses, Pat. Now we just need to get Derek to install a message board.
-Carl.
Great advice Derek, the only things I can possibly add is, join the local musician’s union, dues paid most often provide session players health insurance and some form of retirement plan. It is one of the easiest ways to meet session players in the area you choose to work, since most studios do not readily allow visitors. In addition, learn the music numbering chart system, which is necessary in some areas of the country. One of hardest lessons for young guitar players to master in the studio is that less does equal more!!! I wish him the best of luck! Harold
start working on your relationship building skills now, and make them an honest reflection of your personality. what you learn from doing that will lead you in many right places for your music
also think about learning a bit on another instrument, or several, especially less frequently covered ones, which will vary by where you are and your music style.
take risks, and have patience.
Never say no to music. Never turn down an opportunity to play whether you are paid or not. Work at whatever to support you music habit, and be very nice to your audience, whether in studio or in concert hall. OH! THIS IS IMPORTANT. PLAY PRETTY.
The first key to being successful in anything is to show and make yourself useful. Go where the action is and be useful tot he people there, even if it means simply running down to the 7-11 to pick up chips and soda. And always have a business card on you ready to hand out. In addition, read up on all the great session guitarists like Tommy Tedesco and emulate them as part of your learning. There's no shortcuts, you have to pay your dues just like anybody else. There's no secrets to success, only keys.
Be flexable and open minded to what your employers want. Really listen to what is being asked of you and give 100 percent of your talent back.
There's nothing wrong with music schools because they can give you structure, something you can't always give yourself when you're studying on your own. But if you do want to study on your own, which I think is a great idea if that suits you, take a lesson or two every once in a while with a professional or someone that teaches at the school that you we're think about going
. Studying with different teachers can open your eyes.
best thing i've EVER done is get this book / dvd by ADAM LEVY (norah jones, tracy chapman, etc.). it's amazing.
http://www.alfred.com/alfredweb/front/ProductDetail.aspx?itemnum=%20%20%20%20%2022887&pubnum=0
As a producer and recording engineer, I usually choose a session player who stays in contact with me. I want to know what projects they are working on, who they are touring with, and why I should choose them, in that I have to turn around and sell them to the artist.
The session musicians that refer work to me ALWAYS get called back.
Sounds like great advice. If you stay single, and unhindered/unattached, allowing nothing to pull your focus away from your goal, you can accomplish almost anything.
School is just another pryamid scheme to get your money. It's a get rich quick plan. (They get rich quick off your money and you lose all your money and all your time.) It's a big waste of time I think.
If all else fails, become a father... then you will understand what really matters. It will help you to refocus your priorities and show you what is really important in this life.
All of this is fabulous advice. I agree that reading music is essential. Getting some lessons or attending theory and technique classes at community college can go a long way -- I don't think you want entirely to shed in your basement and shun the collaborative aspects of music making. In the early stages it can be very useful to find a mentor -- a music producer, or master guitarist, or band leader, or studio owner -- you can assist and learn from. As you make yourself useful to that person he or she will pass on more opportunities to you. So many opportunities happen because you were there, not hidden away from the action. Never neglect your musical skills, they come first. Best of luck!
most of this is all solid advice, i believe...
the only thing that really irked me, and the reason why i'm commenting:
"move to LA or NYC. Get a cheap apartment right in the middle of everything."
bring on the lulz, whydoncha! uhhh that doesn't exist derek, sorry. it's not that simple. even "cheap" places in nyc are damn expensive. someone moving here from alabama might be in for a shock in that department.
not meaning to rain on anybody's parade, just sayin'... have a continuous source of income if you plan on living here. whether that be a day job, or deep-pocketed parents. or maybe find some friends willing to let you crash for awhile.
The apartment itself may not be cheap, but I know plenty of musicians who live, say, 3 people in a 2-bedroom apartment, to keep costs down. That's all I meant. -- Derek
Understand the business behind the industry. Remain positive and hopeful always.
hey derek,
i see what you mean. you're right, people make it work every day. i do. but again, just saying - apartments in manhattan are usually closet-sized and ridiculously priced. even packing the kids in, the rent SITLL might not too artist-friendly and for what you get, imo is not worth it. i'd recommend looking into an outer bourough instead. more space, cheaper prices. of course still with tons of roommates, because even though it's a little less expensive, it's still expensive compared to rural areas.
also, i didn't realize the snark level of my last comment :D sorry! i'm just sick of the myth that people will be able to live their perfect artist's dream if they move here. unless your parents are rich and willing to pay your expenses, it's not true! the reality is you go through money really fast. and it takes a lot of energy and sacrafice just to survive, nevermind trying to establish yourself professionally in the music world.
i think anyone who wants to try for it, should by all means do so! i did! it was and still is hard, but i'm still here. just know what you're in for. it ain't all roses and great-paying gigs right away ;)
In todays music business it is very important to be educated. You need to have the skill and talent but also you need to know theory and business. By attending a music school such as Berklee. The connections you will make are worth far more to your future than you will ever know. Don't plan on just being discovered one day. Plan to put yourself in front of some of the real people out there who make the calls for work. The best place to do that is at school.
In addition to musical skill, talent and taste...
#1. Show up on time.
#2. Be prepared. Nobody wants to wait for you to change a string or figure out the amplifier.
#3. Be humble and listen to the person that hired you. If they ask for musical input, that's great - be honest and direct with your suggestions. If they don't ask for an opinion, play what they put in front of you.
Something I learned the hard way - since you are looking for studio work, take EVERY opportunity you can to record - studios, cassette players, home computers - you've got to listen to your technique in a recording environment. Fret noise, sloppy intonation, missing / sliding to notes - how you perceive your playing and how the tape hears you may be two drastically different versions of what you THINK you are playing.
I will reiterate what a few people have said already: play music every chance you get. In fact go out and actively seek those opportunities. Also, what Derek said about learning one than one style is paramount to being a great session player. Listen to as much music as you can take in and understand the subtleties of the recording. Less is more.
I worked in a studio atmosphere for several years and now run my own DIY production from home and other folks' studios. Just wanted to add something I didn't see in other comments here -- I have kind of a different take on the session guitarist based on sessions I have organized and taken part in as a musician in New York. While it's certainly true you have to be armed with all of the boilerplate skills of a versatile musician, and it's also true that being businesslike, positive, and punctual will get your foot in the door and keep you in good stead with producers, you will spread a reputation and create a need with one thing: your individual sound. In my opinion, it's not about virtuosity or being able to replicate everyone from Vai to Frisell. Like I said, versatility and musicianship will get you in the door, but individuality will keep you there. Once you have some steady gigs and you are feeling comfortable, start experimenting. Seek out new and weird gear that you can bring into a session situation -- it doesn't have to be the most expensive stuff around, it just has to feel right for you. If you hear a record where you particularly like the guitar work, LOOK UP that person, try and figure out what they were using to wring that sound out of their instrument, and store that away in your head. Build up your own arsenal of sounds, effects, and amps, develop a sonic signature that people will be able to pick out and say, wow where did you get this dude? Let's try and get him to come in and play on X. You want to eventually be your own person with your own creative process, because a lot of people in studios can play guitar very well themselves -- they're not going to necessarily hire you to be a chopsmaster, they'll hire you for textures and tones and ambience, and they'll hire you for the things you've thought of to make those sounds that they haven't thought of themselves. Just something to think about -- after you get all your training, break the mold and figure out a way to keep your playing fresh and unique. Bring something new to the table.
All of this is great advice! I learned a lot reading all this. Thanks Derek and all contributers (particularly Phil Traynor).
One more thing could be added imho: love playing our instrument and music in general; people will pick up yor passion.
Widen your skills beyond just playing the guitar- many artists play guitar and know thousands of other guitarists as it is. However exceptional you are, they'll call people the know first.
The more strings to your bow, the more unique- and valuable- your combination of skills will be.
Most of the session work I've done has involved doubling up on at least one other instrument (bass, banjo, harmonica etc)- a lot of it has come about from producing, engineering recordings myself. Once you have one thing you can offer to a potential client, they will look to you for more.
Other than that, who you know counts as much as what you know.
All good advice
I've been doing session work and touring for years-
Find a few things that make you sound like YOU while you are giving them what they want- You will get called back more when they remember you..If you have a good sense for electric, steel and nylon guitars, you will get way more work too.
Learn to read well, and practice making lead sheets of your own of anything and everything you hear- When you can groove AND watch the page, you will be a happy addition to any studio scene...
Make sure you can tune very quickly with total accuracy. Don't overplay.
Be awake, alert and able to take direction.
Learn to play two other instruments very well. I often use a great session player on two or even three instruments.
Remember it's a great life and a great job!
Gary
Shut up and play.
Don't whine.
If the producer says he wants rhythmm, play rhythm. When he wants you to fill, he'll tell you. When he wants you to solo, he'll tell you that, too.
Turn your amp down.
Learn to play everything-every style, every instrument.
Oh-shut up and play.
One more thing to master (as if there wasn't enough already) is a thorough knowledge of form. If a producer or songwriter wants you to try something different during the bridge (or prechorus or whatever) they don't want to have take time to explain to you what a bridge is or where it starts. Read songwriting books or theory books and try to identify forms as you listen to music so it becomes automatic.
First off, since you're from Alabama, the obvious location for you would be Nashville (there's a lot more than just country music being recorded there). With hundreds of incredible studios, most within a few miles of Music Row, you'll find quite a few that would gladly accept you as an intern. You'll meet the engineers, studio musicians, producers, and a number of industry types that will help you if you're sincere, hard working, and truly talented. Also, visit with, get advice from, and join the Nashville Musician's Union.
As a studio musician in Nashville, you'll be running in some "high cotton". These musicians are world class players, the best of the best. Think about the difference between a major league baseball player and a high school player. There's a very fine line between "good" and "great". Great musicians are in high demand and can earn an excellent income from their studio work.
All of the advice I've read so far makes sense. Making a living as a musician is tough but also very rewarding. Making a living as a studio musician is even tougher. Not only do you have to read well, you need to then convert those notes to music in any style. There's no substitute for learning to read and understand music of many styles. Relocation to a city where music is created, recorded and turned into songs for artists, commercials, TV, movies etc. is a necessity. It does a couple of things, it puts you in the middle of the artists, writers, producers, studios and other fellow struggling musicians that you will connect and network with. It also gives you the oppertunity to listen to other great musicians and continue to learn and stay on the cutting edge. I would also advise you to continue to play live. It will help you pay bills and keep your playing sharp. If you are committed enough, you can achieve your goals. Relationships and children make life and goals more complicated and more difficult but at the right time make you realize what's really important. Having said that, you shouldn't even think about marriage and children for another 10 years. A common theme with most of the suggestions is personality and professionalism. Keep a smile, be nice, prompt, prepared, willing to help and above all, have fun. After all, you're making a living playing music. What possibly could be better than that? Good luck young man.
A ton of good advice here. I live in Alabama, and would add Atlanta to the list of cities to consider. At 19 years old you need to gig alot and learn all musical styles. Network with songwriters audio enginners and try to get work as a gofer in a studio. Learn to like spam and tuna fish .
Billy T.
It all depends on your ultimate goals. if you want to play on movie scores, you have to lern how to sightread music. That's difficult to do without some training. Music schoolcan be useful to teach you about harmony, theory, comp[osing and so forth. the reality of the situation to da is that the number of people making a living solely from studio work is far fewer than it was about 20-30 years ago.
If you don't want to do the whole music school thing, find a teacher who reads and improvises equally well, and has some good studio experience. Nashville is a good place to breka n, because of the large number of songwriting demos that get cut there. What you don't want to do is to get thrown into a situation that's way over your head, and to make a fool of yourself. It's amazing how quickly information good and bad studio performances circulate.
Another considertion is that a college degree can be helpful in many other ways. When i ws 19 i wanted to be a novelist, and I ended up being a musician, reord producer, songwriter and author of books about music and the music business. Getting a good general education is helpful to you in many ways, including financial ones. I tend to not favor the vocational schools, because they do not offer much in the way of a god general education.
Dick Weissman
I have worked for many years as both the hired session musician, and as a contractor hiring the players. When I hire people, it's based on how well they play, reliability, and also whether I enjoy working with them. It's really that simple. You have to meet and play with as many people as possible. Make a good impression and exchange business cards. The hardest part is starting out. When I meet a great player for the first time, the biggest questions are, "Will they show up on time?, and will they play what is appropriate for this gig, in terms of volume, taste, etc." I like to work off referrals, but even then, at times I've been disappointed because the guy may turn out to be a great player, but an absolute jerk. That's like putting a big sign on your face that says, "Never call me again." A couple of books that I would recommend for learning to deal with people effectively include, "How To Win Friends And Influence People," by Dale Carnagie, and "How To Have Self-Confidence And Power In Dealing With People," by Les Giblin. Fantastic Books.
The advice given in all these responses are all great. Versatility, ability and attitude are essential. I was lucky enough to work with, and be produced by Barry Beckett during the days of The Muscle Shoals Rhythm Section. He was a master of knowing what to say to improve the performance and always sound positive at the same time. A positive attitude is as important as the quality of your playing. The depth of feeling in the performance separates the men from the boys. I would also suggest that you record what you practice, so you can listen back to it and clean up anything that is even slightly sloppy. Playing in the studio requires much cleaner playing than playing live.
Kudos to Derek and the other comments here! I've been a session guitarist for a long time and have on occasion, been asked this question as well. I didn't read every comment listed, so I'm sure my words have already been spoken by others, so I'll just mention what is important to me:
1) attitude, attitude, attitude. Be on time, prepared and positive. Show your willingness to make the song the best it can be - even if that means you won't be asked to play the greatest guitar solo ever played.
2) prepare by not only learning to read music, but to INTERPRET music. That means being able to look at a chart, and knowing the style, being able to come up with a part that enhances the pocket and groove of the song. Flashy is not where it's at - GROOVE is!
3) play in public and with other musicians as much as possible. Most studio work these days is not typically done at big recording studios (and you'll need to be in the exclusive AFM union "top 150" "club" of players to get those gigs anyway - and those guys won't likely give them up until the day they can't physically play anymore!). Most recording projects are done in either smaller studios or even home studios - and some of those folks are more likely to hire you if they hear you playing at a gig somewhere and make a good impression.
4) develop your own style. This will likely evolve over your lifetime, but it is important to get a sense of who you are as a musician and what you have to say - and how you say it. You will undoubtedly have major influences among the great guitarists out there; but don't limit your influences to guitarists. Allow ANY musician that inspires you to be a part of that circle. Then, rather than quote other guitarists' licks all your life, find your own voice by tapping into that inspiration.
I've done many sessions as a guitarist in my carreer outside of my own records,and you must be versatile in every area.Have the right gear.If the band leader needs a classical part on any given piece in the session-have one available.I used to bring a bunch of instruments to those sessions.
I've remember sitting in a waiting room with about 15 guitarists at an audition for for a record producer looking for a player to play on this new release.The guitar players would be called then reemerge only seconds later.After like the 7 or 8th guy came out ,I asked him what's happenning in there and he said "You had to read the part".I knew I had that gig even before they got to me because I'm a monstrous reader on both guitar and bass and play every style from blugrass to heavy metal.
I got the gig in about 20 seconds which led to a lot of other gigs.Advice: READ,READ,and READ any thing you can get your hands on.If you play guitar buy Violin books,piano books,I even used drum books to develop my rhythmic recognition skills.
Reading music is difficult at first but becomes an invaluable tool and a pleasure eventually.In my band Holding Pattern every record we've ever done was rehearsed with charts.It cuts down on rehearsal time and allows the other players to take the part I've written home and learn it.The worst thing is standing around in a studio waiting for some guy to fumble his way through a part
when all he had to do was just read it.IT is a waste of everyone else's time and gets the other guys a bit put off believe me.
You would really love reading Tommy Tedesco's Autobiography as it is filled with a wealth of useful information on this topic for guitarists.Who know better then him right?
Good Luck !
Tony Spada
Find a mentor and learn how to read music well. Spend as much time as possible around more experienced and better musicians than yourself. And remember, if you work as a freelancer, it's your job to give them what THEY want, it's not about your own ego or preferences. Best of luck to you.
1) Read about people like session great!!!!!
Joe Beck in NYC
2) Learn to read anything at any tempo
(it's funny no one talks about reading that much----- why is that? I guess it's not like the 70's in NYC
3) Learn Many Styles
Well, if you are this versatile as a guitarist, I believe you should create your own environment. One that features a simple studio at home where you can here your own recorded nuances, be them great or surprisingly not so good. Work for your friends for next to nothing for the experience. Yes go to school, learn to read music, and write simple legible charts. It's worth every penny if you are truly disciplined. Go to school in Boston, NYC,LA, Minneapolis. Create your own music, this will be more rewarding. Especially in todays rocky music world, where big record labels are dead. Why struggle in a big city while wearing your naivety on a your sleeve, unless you have the emotional psychology, and financial backing necessary. Learn how competative you must be. Get your band mates into the studio. Internal rhythm is the key: you know if you have that or not. Chops are important, you must have reserve. Soul and groove are of utmost importance. Listen to your intution.
As a Session Guitarist myself... I would say listen, read and play, then repeat... IN some years you will start adquiring the skills you need...
I would have to give emphasis to listen and play, but being a good sight reader might land you some nice paid work. for some gigs it's absolutely crucial...
I know of no musician who woke up one morning and was a ‘session musician.’ That doesn’t happen. Recording work develops from the live work you do and the musicians you work with and, most often, from the artist you are working with. When he or she makes a recording you will hopefully be used. If you’re good, the word will spread.
Be in the right place at the right time and know your instrument. Be confident, be professional and just hope your face fits. Sometimes that is the most important qualification!
My book, ‘Vic Flick – Guitarman, From James Bond to the Beatles and Beyond,’ might help in understanding the recording world. One last piece of advice: Never stop enjoying music and get a degree in Business!
The hardest part about what you said is actually doing it. If you can follow through with it, it sounds like great advice. I always like practical examples and you've provided some here. Well done!
Hey Bro
The session guys I hire all live in Colorado Springs, CO or Battle Creek, MI. These are not music towns. I hire them because they have a great style and vision, and have their own ProTools studios. The most important part of cutting tracks for people is that you can #1 play perfectly tight with a click and #2 you have seriously awesome tone. Everything else can be edited. Buy the best tube amp and pedals you can afford! TO break in, play on as any records as possible and make sure you get credit on the cover. That's how musicians are found. Also, have your own website or myspace with demos of your work. Peace and good luck.
I did commercial studio work for many years. From Discover Card to Target to Adida Tennis Shoes as well as Album projects. "Time is money" when it comes to commercial work. I found that versatility and personality are key in those situations. Know your instrument and give them what they want asap. It may be something very simple. You'd be surprised.. Read the personalitys in the room as well as you can, and bring a smile with you. If it's a complicated piece, ask for direction and blend with the producer. Give'm your style and make'm smile. Practice a ton of styles so you can cut whatever the bag is cleanly and efficiently. Last but not least... Get a killin tone that producers want and work on your memory. Then maybe, if you're lucky, you can earn the reputation as a"one taker".
Increasingly these days, On Line session recording is becoming the way of the future.
Check it out at various on line recording studios on the net.
And : Without meaning to sound discouraging , it is a factor that unless you're able to build a good list of recording industry contacts , all the practice will do nothing for your wallet.
And bottom line, that's where it
really counts.
It always pay ... to start small, start with something... eventually there will always be a break somewhere by someone with your name on the credits.... be humble and natural. Its better to give the unexpected rather than failing to adhere to expectations.
All our advice and suggestions might feel a little overwhelming at this point, but try to relax and have fun with all your learning. My only additional idea is,... if you don't already play a little slide guitar it may be to your benefit to learn the basics of the technique,... since there has been a recent resurgence in this style of playing. There is much available on the Internet. You can even read my addition to this topic on my page at...
http://www.jeffwyatt.com/Slide_Guitar/Slide_Guitar.html
Remember,... have as much fun as you can with your learning and try to jam with people that you feel are better than yourself. That will always make you work hard just to keep up. You'll be surprised as to what you are capable of. But please relax, as there will always be better and lesser skilled guitarists than yourself out there. It helps to be an amiable person that people simply like to work with. Prospective clients will generally prefer someone who is amiable to work with as opposed to someone with an overblown ego. All the best to you dude!!
Hey Derek: Tell him to do as many gigs as he can. A live audiance is the very best way to grow your chops for any, and every use in this business. A variety is especially good for learning and building a reputation.
James
on youtube you can find free leesons for anything under the sun. sucks for the teachers!!
I studied with a prominent session musician and concentrated on honing my skills in playing cleanly in a recording environment. This takes a great deal of skill in blocking techniques and getting rid of extraneous noise that could mean a retake or punch out. Engineers and producers like one take shots and minimul time to final master.
Also do learn to read, ear training, improvisation and Know recording technique yourself. If you know the lingo of the studio you will be that much more confident in front of the red recording light.
Only you can be your best promoter and the internet allows you to promote yourself on a near major label status. Be kind to all you meet because you don't know when they will be your door to bigger things.
Good luck!!
Darryl
Practice with a metronome. Practice in tune.
Learn to strobe your guitar. Get a Pro Tools M Box and learn how to record. Learn how to get the sounds you want in the box.
If you spend a lot of time under the headphones at home, it will be more natural to you at the session. Then, you can nail a part quickly and be the hero, instead of everyone whispering in the control booth, " Who called this kid? ". Time is money.
I know session musicians who are successful and who are also frustrated. Look, if you are not playing music you love, you will burn out eventually and won't feel like playing at all. You may be able to do session work full time and it will be fun for a while, but what's the point of it - money? If you're playing music you wouldn't dream of doing otherwise, there's a price to be paid for it in terms of your own creativity. To learn everyone's style but your own is to worship a false god. You should definitely learn to play well and a lot of the advice I read here about competence and good manners is excellent. But find your own music and mine it, develop it. Get excellent at that! Then you can do occasional session work and have something really extraordinary, something personal to give to someone else's music. Isn't that what you would want someone to bring to your music?
I went to M.I. and Berklee after, at which point I would have been of little use to producers.
I learned to be a good session bassist by first, gigging constantly for years. I developed my ear, an ability to learn songs quickly and an instinct about good parts and song form. Secondly, I started writing and recording my own music. learning to find the right part and fit in to the track quickly (make it feel good) is your biggest skill. I became a producer myself and gained that perspective. I also disagree with the advise of being a "yes man" At the risk of stepping on the toes of producers and song writers I've suggested lots of new ideas, chords and even written bridges on many sessions I've been on. If you really can improve the track and if it's actually suffering you should speak up. It's usually much appreciated.
One advantage of attending a music school/program (which I never did) is the connection you will make with others who share your goals. Not to be negative but I have to question whether aspiring to be a "session guitarist" is a realistic goal. I think you can count on two hands or less the number of guitarists making a living strictly by playing on recording sessions in major cities. In the NYC area you now see many well known guitarists playing B'way shows, etc. Derek said, "move to LA or NYC. Get a cheap apartment right in the middle of everything," but do those apartments exist anymore? IMHO you have to be prepared to do whatever it takes to make a living and that may include teaching, playing weddings, arranging, and playing on recording sessions. If you make a commitment to making a living playing your instrument then that's what you're going to do. If you're planning on making a lot of money playing sessions after you graduate from school you might need a backup plan.
Hey now, Derek. Another great topic you've presented that's generated some really great insights and advice for someone in pursuit of a session guitarist career. Of course, that doesn't come easy. It takes years to become a "first call" session player.
Tony Spada (thread #78) mentioned Tommy Tedesco. Younger guitar players will probably wonder who he is. Therefore, take time to find out more about Tommy Tedesco and what he delivered to the L.A. session community of players, producers, and more. He was a major influence on many of today's great professional guitarists, both directly and indirectly.
"So you want to be a session guitarist, eh?" There's much you'll need to learn, and going to a school won't nail it down for you; but, it will help you increase your knowledge before you attempt to pursue that career path.
In addition to all of the views that have been presented in the previous threads above, take time to entertain yourself and your thoughts about some of the knowledge a guitarist will need to have at hand for his/her first recording session. Subsequent session opportunities are always based upon one's ability to deliver what's needed. Check out the following for a few more insights:
http://www.fullymusic.com/FM/gtrlessons.html
Listen to learn to play to grow to know to listen, too.
~ DF
Guys, I just wanted to thank you all for your advice and help. It really means a lot with so many responses like this. I feel 10x better. I'm so glad many people took their time out of the day to help a kid like me out, it means a lot.
P.S. I will be taking guitar lessons with Dave Weiner very soon. He is very proficient in many styles and has offered to help me out. I think with his insight, I can definitely improve my playing in many styles and further my goals for the good.
Hi Derek
I'm one of the many artists on CD Baby and a subscriber to your blog. I enjoy being with both. This is the first time I've been compelled to comment on one of your blogs, in particular,your advice to the 19 year old with aspirations to become a session musician.
Besides my songwriting, I still do FTP drum sessions from my home project studio. I find the FTP "session" process challenging and "interesting" to say the least. I say this bercause I walk into my room alone. There are no musicians with me. I have all the time I need to record a track, unless there is a deadline. This "bizarre" paradigm has taken some time to get used to.
You see, I myself am a "veteran" of too many "real" recording sessions to count. This was during my heyday between 1982-1990 here in the US and then 1992-1996 in Europe.
The most salient point that you missed in your advice to the young guitarist is that there really no longer is a "session scene". Large studios are struggling to keep afloat. The major ones are catering to self contained bands. Many producers now have their own studios. As a matter of fact most "artists" and writers have at minimum a small home setup.
The studio scene is only a shadow of what it used to be. For the most part, as a "studio" player, you are getting uploaded tracks, or going to someone's project studio to record. I rarely get to do a session in a "real deal" commercial facility.
I think your advice to the young guitarist was for the most part very wise. I would add that he should network with songwriters, jingle writers and anyone else who most likely has a project studio. I think he should invest in some gear that will make it possible for him to do FTP sessions. I think he should have a website to advertise his talents.
He should do whatever it takes to play live as much as possible. There's nothing better than the human interaction, where not only will he be judged for his character foremost, but also for his skills as a player. Atleast this way besides honing his skills, ,he might get integrated into a band that may record in the future , or even get a deal, if they're young and good enough and find themselves recording in a "real" studio.
I never thought when I was touring and recording during my "golden era" that I would find myself becoming my own producer,engineer,manager,A and R guy,music director and project studio owner.
With all this, I still do FTP sessions for others and play live as much as possible. These are very challenging times, and the only way to stay afloat and possibly succeed is to embrace the new paradigm.
But before that, try to be the best musician, singer, songwriter, or whatever your ambitions are. Because without great songs and performances what's the f---ing point?
Lastly, if you're doing it because you love it and are dedicated, you can't lose spiritually and you will be gratified. if you're in it to become rich and famous, you might as well just buy a lottery ticket.
all the best
KanareK
http://www.poodiemusic.com
"do what you love and never work again"
Now that's some good sound advice Derek.I may add... music is a constantly changing medium,therefore the musician is constantly growing musically in and out of styles and multi genres.
Charts are good to know and to read in a more controlled session(s).However,the element of a great riff and/or solo is spontaneous and pure energy that excites and pave way to trends to a new sound or style. Jamming and experimenting is some of the greatest ways to finding your identity and HOT licks. Learn from your Idols and add your style to them...not in vain or disrespect,only as a compliment and be daring to learn licks not only from the same instruments you play,but play the sounds of other instruments in the rhythm section on your instrument and you will start to become one with your instrument. Music is universal and it's bounderies are unlimited, stay open minded and have fun.Play with any and everyone and any and everyone will want to play with you...
GMAN
I feel for someone like me , living in India MI is one of the best chances of learning and exposure .
Hi Derek and everybody! I will share some thoughts from technical to philosofical sort of things according my experiences on the music scene. I hope you find this helpful.
Some things I notice that worries a lot all aspiring guitarists out there are things like the right guitar, the right amp, the right effects etc, which guitar is the best in the world, which amp is the most badass sounding one, and so on... I'm surprised how those things can bug a kid even though he is not aware of how he can play a C chord.
Anyway, I would say that essentially what matters the most is what I call the guitar/amp factor, having a decent guitar and a great amp is better than having a Gibson Les Paul Custom plugged in a cheap 15 watt amp, so before thinking in the best guitar, think about a really good amp.
Remember that the best rig in the world does NOT make the player, first of all and most important; practice!! Develop chops, dynamics, clear musical ideas and concepts, and a good connection between your fingers and the strings. The tone, sweetness and fluidity of the phrases comes from the way your fingers fret the notes and the way your pick attacks the strings, from there you can tweak the final sound, shaping your amp EQ or adding the effects you want.
Many times when we talk about guitarists sounds we focus on the gear they have, but it's better to pay more attention on their actual voice and musical vocabulary, things like phrasing, feel, note choice, harmony voicings etc.
Try to go simple! be able to play only with your guitar plugged into your amp or even an acoustic guitar, you can do lots of things and create many different sounds only with the guitar pickup switching and the volume pot. Try all different kinds of guitars, amps and stuff, do a research about all the products you can, be informed, then you decide what to use.
Once I learn scales/modes, harmony concepts, all the notes across the fretboard, chord voicings and overall chops, nowadays I focus more on playing whatever comes to my head than playing scales for hours and hours. Don't ever forget that we are aiming to do music, to sound musical and sensitive, music is about to tell something and move somebody, not just playing excercises.
Try to improvise over a drum sequence and record some takes, listen to everything, judging what is good and what is not and work from there. After listening, sometimes ideas start flowing and you may keep developing those until merging with some others, then it can become a theme or a structure for a song.
Aside the technical and practical stuff, we should work the human part, so it's always good to listen what other guitar players have to tell us, in that way we will be able to make a good judgement about ourselves and other fellow musicians, and know that there will always be somebody who we can learn things of.
Talent doesn't matter if there's no honesty, people should demonstrate what they are and what they do without false pretentions, people will know if you're being sincere or if you're cheating them trying to be something that you are not, if you are convinced that music is your life, go for it and take it as it is, no matter what people think about your vision or perspective, you don't have to please and like everybody. Follow your ideas, plans and what your heart and mind tell to you. Be diverse, don't get stuck in just one genre, style, band, proyect or whatsoever, if something doesn't work, doesn't yield anything or simply doesn't like to you, move on for some other options.
It's always good to be patient and not try to run before learning to walk, go little by little, keep the pace that works for you being totally confident on your possibilities. It's all about to keep close to the instrument and being constant, if you trust and be passionate with it something will happen.
There should be no haste, there should be just fun, being glad doing what you love, always with humility to everybody, don't forget we're human beings before musicians or whatever.
I wish you all the success.
Cesar.
Join the American Federation of Musicians....the larger locals like New York City, Los Angeles and Nashville often have referral services!
By the way, in NYC it's Local 802; Nashville is Local 257; and Los Angeles is Local 47.
...and good luck--you'll need it!
BT
Derek,
you are one amazing cat and I wanna be more like you! I'll be brief; thanks for all that you do. The Elizabeth Gilbert piece really confronts the artist. Very provocative..
thanks again, all the best,
Ronnie
Hello:
Dear aspiring session musician, good for you for having the vision to pursue your dream. Now, wake up and face reality: there are millions - yes, millions - of talented, driven players out there. Fabulous guitarists are a dime-a-dozen. Luck and being in the right place at the right time mean something. There's room for only a few top dogs in any profession, and you need to face the fact that even if you are very, very good, you may not make the cut. I know of one man in Chicago, a world-class player, who can read anything and play like everyone from Wes Montgomery to Jimi Hendrix on command. He plays weddings and does private lessons to pay the mortgage. Why? He doesn't look like a star, but an accountant. He also hasn't gotten the breaks. He's done plenty of sessions here in town, too - jingles and so forth. It would help if he could move to NYC or Nashville or LA, but it is also about being a businessman and making your own breaks. He hasn't gotten them. He's played with world-renowned people when they come through town, but hasn't cracked the studio scene.
My advice is to have a back-up plan in case this doesn't work out.
Technology is also making studio work like in the past a rarity. There just aren't as many studio gigs as there used to be, and the good ones are taken by the established players.
Not trying to rain on your parade, but please be aware of what you are getting into. It's a tough, cold world out there for musicians sometimes...
Hate to be negative but I can't help agreeing with Pete (thread #102). When I was at music college I had a friend who at 19 years of age could play Al di Meola and John McLaughlin solos absolutely note for note alongside classical pieces and hybrid-picking stuff such as The Clap by Steve Howe. He had loads of jazz standards memorised and was great at bluegrass flatpicking etc etc. Even at that age he could sightread incredibly difficult stuff very accurately and had an unbelievable ear. He was confident but outwardly modest and was a very popular guy. All the other guitarists in the college (despite guitarists usually being a jealous breed) waited to see how big a splash he would make out in the world. Well he HAS worked (mainly band gigs and theatre shows) but tends to rely on teaching for steady income, he has never really had much studio work. Why? Who knows. The problem seems to be that you do have to be a great player but there are no guarantees even if you are. Have a plan B.
I recently started playing the guitar and I found that choosing the right guitar pick is also important in improving the way you play. One with a good grip can make you feel relaxed when you play,improving your skill.
I would always suggest a good musical eduction in todays world and it is a great chance to network with the right people. Thats worth a million dollars. Good luck
Not sure if anyone reads this thread anymore, but I figured I would leave a comment anyways!
Be VERY versatile!! You'll get much more work than most, and that's always good because you'll have a better (and more fun) time choosing what you want to do, and who you want to commit too.
COMMIT COMMIT COMMIT.
Commit to the music you're playing, to the show you're performing, to the material you're practicing, and to music itself. Always give 100+%
Much of this job is just going for it... never doubt anything you're doing, or it won't happen.. plain and simple.
Put yourself out there, and if you're a good person, that people like working with, you'll hear the phone ring (or, get an email or something).
Be weary about relationships with people you're working with. Be an honest person, but not TOO honest... remember, if you're working with a band, you're not IN the band (unless you want to be). So they don't need to know every thought that goes on in your head... they're just a temporary situation.
STAY AWAY FROM DRUGS.. i don't need to say more than that.
HAVE FUN
Enjoy what you're doing. It's music. We all got into this for a reason right? Remember that reason! It will change as life goes on, situations and bands change, and you as you get older... but be true to yourself and what you're doing.
Best of luck man,
maybe i'll see ya in the trenches some time!
Never ever be late, leave your baggage at home, stay in touch with people, write e-mails and pick up the phone.
You are young so get out there and go to every audition you can, travel to them if you must. Start now so that in several years you are knee deep in the industry. Start building up a resume project by project, do not wait. Some folks will enjoy your work and few might not but in 5 years time you will really have your footing. Do not get married or have kids until your career is established.
Get into as many function bands as possible for experience.The more weddings and corporate parties you play at the more you will learn
Lots of great advice here. If this kid follows Derek's advice he will succeed -- not because he learned a bunch of music, but because he has that much passion for what he's doing. If you believe in yourself enough to put a significant daily investment into ANYTHING, you've already succeeded.
Being a session guitarist myself I also get asked this question from some of the students I teach.
Many people try to be in the right place at the right time to get a break, the problem with this is that is what everybody does so the competition is high. The main advice I give is wyherever you are and whoever you are talking to make sure they know you are a session guitarist, you just never know when you will find someone who knows someone and that someone could be the one that gives you the break!
Keep working hard and always developing. The next big break could come any time!
Coming from a session guitarist background, I would highly agree that almost more importantly than your level of skill, is your ability to get on with people, be organized, be professional and more than anything, be open to any type of music or suggestions!
You can't go around with a stick up your arse because you think only a certain type of music is cool! If you can do that, and you have the guitar skills, then get out there and start making contacts!!
Dan