Take a look around. Your "studio"/ workplace is probably in a room in your house. Box 1. Your literal vision/optics are being viewed on a screen from a computer. Box 2. You may even look at your musical knowledge and improvisational skills based around the box method. Scale patterns. Theory. Rules. Limitations. Box 3.
It is during this time of year we tend to make resolutions to change the things that are not working in our lives, and to strengthen our weak points and develop our strong points. I thought you might enjoy my list of guitar resolutions! I would love to see yours in the comments section below.
A project came my way that I think you will find interesting. What I'm about to describe is commonplace in the world of recording today. It's about how so much of today's music is not recorded in the same location. Or even the same city. Or continent. The name of the group is Triphon. They play what is described as Euro/American metal. It is hard, loud and melodic. Great music. Talented players.
In this blog post, I'd like to pose the question: Can you handle the stresses of session playing? Every day I awake to a new set of musical challenges. These must be met along with our regular, everyday personal needs. Here's an example: Today I have four sessions to work on, a blog to write (this one) and a phone meeting about composing music for a new reality show.
Hello, my friends! This week, we will be talking about an effect that is not sexy. It is not obvious. As a matter of fact, if used properly, it is transparent! If used improperly, it can really ruin a mix or an individual sound. I am talking about compression.
If you want your songs to be loved by most who hear it, this is what you must consider: The song must be excellent. Next, the musical arrangement must be correct to sell the song. The performance of the song must be emotional. Finally, it must be recorded as well as possible in the correct environment using the best gear available. Notice: What is the last thing I mentioned?
This is a blog post from the heart. It is a reflection on what I am feeling and have (once again) fallen into. This happens every six months or so. Usually it's because I accept too much work and get too exhausted to remember my own rules. So hopefully, this blog post will help you one day when you're a session player — and are wondering why the hell you became one!
I recently had the pleasure of meeting one of my idols, David Spinozza. From 1970 through the '80s, NYC was a hot spot for studio work. I came into the game in the early '80s. But David was one of the names I followed, along with others like Elliot Randall, Steve Kahn and John Tropea. They owned the guitar seats on countless sessions, and David happened to be in the right place at the right time.
The less time you have to set up your studio or arrange or plug in a piece of gear, the better. That means there is no lag time when you have a creative spark. Just turn the gear and go! And from a professional POV, that means you're always ready to make money!