Tips on preparing for STUDIO work

[Sjonesmusic]

Here's one of mine from the Files...

DEVELOPING STUDIO SKILLS

LEARN your instrument...inside and out...

Not merely how to play it, but about different tones, different textures, unique layers...

Listen to every kind of player...so when a producer, client or engineer asks for a certain sound, you know exactly what they mean...

Learn to read music...

And not merely read, but interpret...so when you see the style marked at the top of the chart as "Bruce Hornsby Feel", or "Rock Shuffle", or "Modern Acoustic Rock"...you'll know how to pull those styles out of your instrument while reading the notes, chord symbols and rhythms...

Learn about and be aware of every other instrument, every kind of player...you may be the one calling the shots on a session...asking the drummer to play a Bernard Perdie shuffle...or a violinist to play more Celtic...

When you feel ready...just go around to various studios with a diverse demo of yourself, and pass it along...play with players who do session work, and if you've cut their gigs, they'll put the word out....

Leave your ego at home...and while suggestions aren't taboo, be very careful not to step on the producer's toes...just do what they ask...give them what they've paid you for, and if you can slip in an idea of your own, make sure it's for the betterment of the projcect, not just an excuse to rip your own thing...

Listen as well as read...did the drummer and bass player decide to change a rhythm or accent? ...then follow them...

Always be ready to totally re-do what YOU thought was a perfect take...it may NOT be what THEY wanted...

Own, or have immediate access to, many different types of guitars...

Be able to bring:

a strat or strat-like electric...

an acoustic 6-string...

some kind of mandolin or miniature guitar...

know how to use a capo and alternate tunings...

have one guitar available for low tunings, with heavier guage strings...

Also:

Own many different amps or, own one excellent modelling amp...

And think outside the box...

A friend of mine in Nashville told me a story of a session he was on, where the drummer Steve Brewster, made a hi-hat out of two giant crash cymbals...and also in the same session, placed towels on all of his drums for one tune, then manipulated the tracks in a sampler to create some wicked drum loops...

So think like that as a guitarist...how can you use your instrument in a way that's different from the norm?

Also...

Do not be afraid to utilize the recording technology...

In other words, if you've been playing the tune up to a point in an open string, guitaristic key, like G major...and after the bridge, the tune goes up a half-step to Ab major...don't hesitate to stop the recording, put on a capo, roll back and nail the rest of the tune with the more open sound allowed with the capo...it will sound much brighter and clearer than close fretting everything in bar chords, with no open strings...

Really, it's about relationships, and building trust over time...establish with the right people, that YOU are the go-to guy, and you WILL get work...

DO NOT over book yourself...make sure you set aside the time to do the session and stay til the end...it's great to be busy, but if you send in a sub to your next session, he may wind up with the gig more than you...

Don't steal gigs from other players...if the client likes you more than the guy he's been using, GREAT...but don't go around stabbing people in the back to get work...those people might be hiring YOU someday...

Be on time...if you are late, even a couple of times, it's over...

Don't be rude or childish to the leader...it only shows off your insecurities...

Don't be rude or childish to other musicians...the drummer might be the next Vinnie Colaiuta ...you never know where your next big break will come from...

Don't let yourself get all wrapped up emotionally if the music you are playing isn't your favorite...it is a part of the business...do your own thing on your own time...

Learn how to follow a conductor...

If there are 2 guitar players on the job, and a part comes up that the other guy is better suited for, let him play it...and listen to each other...compliment each other...don't try to outdo each other...make your blend work to the benefit of the music...don't be a showoff...and don't play in between takes...if you need to "work out a part", turn down and do it quietly, only if it is not a distraction...

If you get into the scene pretty thick, and you are going from date to date...have a cartage company get your gear from place to place...it is often part of the contractor's budget...if not they'll tell you, and you'll bring it yourself...

Thank the leader and the contractor at the end of the date...

I hope this has helped...

Peace,

Scott

[stratcat]

thank you Scott!!

always good reading coming from you!!

[evan_02]

one of my teachers did some studio work, he once was paid $3,000 to do a jingle, took him about a day of work, and he made $2000 of the three grand...not bad for ONE DAY of work.

[jt9057]

How do you actually get into doing studio work though? Im actually interested myself.

[jt9057]

bump

[stratboy151]

scott, im a decent reader , ive heard stories of some insane session players that can read anything on the spot , just how good a reader do you have to be? also on the other hand ive heard the hardest part is being creative and being able to come up with a part yourself on the spot . so im kinda confused , also someone else asked how you get into session work, im curious about that too , since it seems most local studios involve bands that want demos and not solo artists who need a full band backing , HELP US SCOTT!

[jt9057]

I remember reading a Guitar Player interview with Lee Ritenour where he said 95% of the rock stuff he did he'd go in and make up a part. He said while this might not seem hard it actually is when you go in and all the pressure is on you. He also said that because of this, back then there were alot of similar gtr parts on alot of different songs. The other 5% were reading dates and times when the producer or artist knew exactly what kind of part they wanted. The only strict reading stuff he said were when they did film soundtracks. Also alot of Lee's own solo work were performed from charts. Its amazing how he had time to do all those sessions then go home late at night and write an entire score for The Captain's Journey in like 2 weeks.

[highpressur]

umbscae

[Sjonesmusic]

Sorry for abandoning this thread guys...new baby, very busy with the C.D. re-release, my arranging job, etc...

To answer the primary question, "how to break into the studio biz":

Basically, to just break in cold, you need to have a serious demo packet/C.D./resume together...and if you haven't yet done any sessions, then you need some references, either from fellow players, teachers, professors, etc...

But, the best way, is word of mouth: you know players that do it (either your own instrument, or others), and THEY recommend you for a date...or you know an insider in the studio (engineer, tech, producer), or you know an insider "client-side" or "ad agency-side", that somehow gets your foot in the door...

Frankly, it is really hard to break in, as those who get the gigs aren't too quick to give up their chair, or rotation...

But, have something to offer, either in sound, vibe, great attitiude, reading chops...that will give you an edge...

Scope out the local studios, and see how you might best approach them...they won't know who you are unless you make an effort to reach out...there's no harm in walking in and handing the receptionist a packet, but it may get lost in the shuffle, so try to first make contact with the right people on the inside, let them know to look out for you, and then proceed...

And treat the first date as if you've been doing it forever, don't fear asking questions to get at what they want...but don't over burden them either...

Anyway...best of luck on your efforts...

Peace,

Scott