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[dconstruction]

This seems pretty cool (and reasonably priced):

http://www.frontierdesign.com/Products/TranzPort

L

[xonlocust]

BigMetal wrote on Mon, 16 July 2007 10:19

j.hall wrote on Sun, 15 July 2007 17:14 a wireless mouse and keyboard works well behind a drum kit or next to a guitar amp. i feel incredibly stupid for not thinking of this before... recording my own drums is always such a comedic adventure (hit spacebar, run to kit, get headphones on, and hope i don't knock anything over in the process before the scratch track starts). then if you botch a take the whole process starts again. j., your wisdom knows no bounds.

imagine doing this with tape - that's my general assclown scenario when recording myself

[j.hall]

the remote on my old 3M had a 50' cable.  plenty to move it behind my kit.

when i produce, i spend a lot of time out in the space with the band.  when i used to record to tape and had no assistant, i'd haul the remote out there as well.

now.....it's blue tooth baby.

turn the monitors around so they face out to the studio and you're good to go.

[Kevin@guitartracksforyou]

I am J. Hall's friend and the guitar session player he is referring to on these posts.
This will be targeted mainly from a guitarists perspective but will hopefully blanket the subject for any studio wannabe.
"BT", or "Before Technology" the session scene was incredibly limited to a specific area. As a guy passionate about becoming "THE GUY" on guitar in the studio in my particular area, I networked with the BIG DOG writer/producers in town. That was the only way to do it "BT". I didn't live in a "music town", but I did hook up with some guys that were the who's who of players and writers and and they were plugged into some advertising agencies that did local and national radio and television commercials. By doing this, I was able to be a full time musician making royalties. This is a fairly rare situation. By doing these commercials, my name got out as the guy to call for the custom Cd projects. One project led to more and more. The very instant that technology made it affordable, I put a studio in my home. I have been able to play on tons of custom Cd's from various artists and am now able to do the file exchange thing over the Internet. It doesn't matter if you live in a music town anymore. It DOES matter who you network with and how aggressive and passionate you are about getting your name out there as a guy that can play any style. The catch to that is that you have to have all of the components as a player such as feel, vibe, creativity, chops, and tone. Both on electric and acoustic guitar. I have found it HUGELY important to be able to read music. It will make the session quick and give you a road map.    

[pg666]

thanks for responding! lots of good info there, even though my situation would be pretty different.

[j.hall]

kevin has done it all as far as finding ways to make a living as a writer, arranger, guitar player.

so his situation might be different, but chances are, he's got some experience or can offer insight to the things you want to do.

kevin, i don't think i've ever asked you this.

what percentage of your work do you do by yourself at your home studio now?

[TheDan]

Watch out for signal interference from cheap wireless keyboard/mouse combos. my old cheapo wireless keyboard would present an audible dt-dt-dt-dt-dt-dt-dt when any key was pressed.

first post, btw. long time lurker. i got more practical knowledge and advice from this forum than my entire "recording school" curriculum.

thanks to each and every one of you.

[pete andrews]

i do the "drum for other people's stuff" a lot.
def. do as many jobs as you can handle... be firm about your rate.... and def. get a Frontier Design Transport (if working in DAW World).

pete

[jchristopherhughes]

hey kids.

i make the bulk of my living...if thats what you can call it....producing and mixing...but i still do a fair amount of session work...mainly on drums...sometimes recording tracks on my own at my studio (i just have a one room studio with my drums adjacent to my gear.)  though more often, just showing up and playing.

i honestly did not try to become a session guy..just always ended up playing on stuff at studios that i worked....and alot on my own records and productions.  i have several producer friends who are the main folks i play sessions for.  for me, my main strength has been in being able to cover a wide variety of music well, and playing solid, simple grooves...and mostly PLAYING FOR THE SONG !!

i think the key is to lay back on the chops and really know how to play for a RECORDING...and the song.   in the studio, you have to be SOLID...MUSICAL...and know that you are under the microscope.  also, knowing your gear and making sure it is all in great shape..ie...well intonated string instruments, drums with no rattles, good heads..etc.  any good engineer knows that great sounds start with great musicians and good sounding instruments.

i  speant SO many years playing drums to records and click tracks...and then with tons of bands....i think a groove is constantly in my head.  i honestly could not play a drum solo to save my life...but i can groove...and i think that is why i get the calls.

be pro, be efficient, play kick ass stuff that fits the songs you are asked to play on, and just be a cool person to hang with....that will build up your reputation, and get you consistent work.   i still get calls from folks i met 10 years ago.  i was cool to them, did a good job for them..and it still pays off to this day.

this business is ALL about relationships.  if you are a great musician..thats just the first step.  doing the best you can on EVERY gig..and being cool to everyone...WILL keep you working.

oh..and dont work for FREE...ever....even if it is very little $$$$...get paid.

cheers,

jchristopherhughes

[pg666]

terrific post!

Quote:

for me, my main strength has been in being able to cover a wide variety of music well, and playing solid, simple grooves...and mostly PLAYING FOR THE SONG !!

yeah, i've heard some funny stories from people who have recorded 'session drummers' (probably not too successful of ones) who end up being music school hacks who insist on using their splash cymbals on everything. it just blows my mind that someone would show up to a session they were being payed to play on and act like that. but people (or whatever species drummers fall under) can be pretty stupid.

[Duke]

J-Texas wrote on Sat, 14 July 2007 23:20

pg666 wrote on Sat, 14 July 2007 18:01 ... i'm not sure i could pull it off in Chicago. there's no shortage of affordable studios to cut drums here though. Man if you had a rig like these guys that J. is talking about... and you're good enough... between the net and ISDN, you could cut tracks for people in other countries, much less other cities and states. The goto guy for people everywhere! Now that's making a living the easy way.

In the old days we called it "phoning in" your "part".

[ryst]

I just recently started as a session guitarist for a lot of hip hop stuff here in Atlanta.  I was already working with a lot of hip hop guys as a producer/engineer and when i felt comfortable showing some of them my rock remixes, they were really into it.  So I have been getting a lot of producers and rappers wanting me to play guitar on their tracks.  I just did my first country track too.  Don't ask me how that happened.  But I have a lot of fun doing it.

[Buzz]

The Tranzport ROCKS !!! it gets you totally wireless from any position in the studio ( just not behind metal walls it's RF ) I have had NO problems with mine !!! , and it has a mic stand adapter

We do live based recordings ( full band then Overdub ) and I can control most of what I need from the Tranzport. ( the controls depend on the interface drivers from th software co. you use I.E. PT /Sonar etc. )


Later
Buzz