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!
So your band is looking to take it to the next level. Or perhaps someone has offered to pay your way out of the home studio scene and into a big studio you've only seen pictures of. This week I want to discuss the pitfalls I have witnessed and how to avoid them. I swear I could make a living saving bands money -- if they would only listen. You don't have to trust me, but read on. I may just be saving you not only thousands of dollars but your actual career.
What do you do if you are having an off day? Just not feeling it? We all have off days. However, I am a professional. That means I'm expected to perform. So even if I'm having an off day, my playing can only get so bad. I can always call upon experience. And being well practiced helps give a good performance. It may not be magic, but it will be damn good.
Hello, fellow guitar freaks! This week I'm going to discuss a topic that has been on my mind a lot lately: Is it better to mic an amp on a track or use an emulator? (By emulator, I'm talking about either an external box like a Line 6 Pod or an internal software based amp simulator like Amplitude.)