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Personal contacts. Networking. If people organising sessions get to know you and like what you can do, they will hire you whenever what you can do is what they want.
plus... being reliable, on time, all your gear works, well rehearsed.. totally together, knowing what you are doing..
and to really make it as a session player.. you need a fairy godmother...
that special well connected mate that knows the right person at the right time that enables a door to open for you that is pretty much closed to the general public..
once that door is open, it's then down to you to make the most of that opportunity..
It really is all about building up contacts, in five years of running that studio I met so many people in the music game it would have been pretty hard not to have been asked to do something at some point. I played keys, bass and guitar on various things from shitty cover stuff to a lot of original rap music and P&W. I haven't done a recording session since ditching the studio but I'm still working live with some of those people now. You make contacts who become friends and hopefully over the years you keep them. It helps if you get out and see other muso's ... that can be hard when you have a family because even though you might be giging 3 nights a week yourself you still have to get out there and see other bands \ gigs \ jams \ charity do's otherwise you become singular and off the map and then you never get any work.
Having the ability to sight read is a wonderful skill though and it's something I keep going back to to try a move a little further forward.
however, the session player I know that reads really well [and needs it] plays in a orchestra that does musicals etc..