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Post by belgarath on Mar 24, 2011 16:37:18 GMT -5
Dude, know Will Lee? He's a good friend of mine. Do you produce him? Doubtful. How about Steve Gadd? Steve Jordan? Michael Waldren? I worked with them all as sideman on various gigs and sessions. You know -- actual real professionals who are trained like myself. I don't get why the entire point I've made goes under people's heads -- I'm talking strictly about non-talents who get their garbage at a Sam Ash, have no concept of time, pulse, sound yet who lay there like eggs at virtually every venue from Brooksville to Naples with few exceptions -- Sarasota Slim for one. FOR ONE! Out of how many "musicians?" Sorry, that is pathetic for an area this size. The rest make playing absolutely painful for those who are used to working with the Steve Jordans or Waldrens or Bobby Moses and such. Never said I was a producer G please re read what I stated; but i do know some.....  quite a few past and still present DJ's as well......I went to Hofstra and studied, was also accepted to Juliard and Manhattan School of Music...but Hofstra was the most affordable. Anyhow the Music scene "has" changed and I do agree with you there...but we must all adapt and evolve or perish. I think that is what all are trying to say. I've been studying and performing since second grade with Violin.....but Classical music wasn't my thing. Coronet in 5th through 8th grade but big band sound faded for me... Guitar and theory since then...and yes there are some sad players out there...but there are some really great ones too! and Yes I like Slim, had him at my Bar; I like Wayne Johnson as well; Even Magic Mike has his attributes Drummers......Rick Gowen is one hell of a Jam and Classic Rock Drummer, Jerry Chase is damned decent too. Pug is always awesome when he is in his groove (which is most nights) There out there trying to make what they can of this economy and their sound so they too don't perish...but yes we're all old farts and its a new day |
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Post by woodbutcher on Mar 25, 2011 19:20:37 GMT -5
Don't forget the "Honeyhead"
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Post by gwbasley on May 4, 2012 10:57:34 GMT -5
This being one of the most active threads on this new site, I've been playing the "fly on the wall", just to see how it progresses. Well, it's going right into the gutter, and fast! The question was "Where are the true professionals and I think Georgiegorge got it right...they are too busy working to bother with the BS section of a brand new forum. If you want pros get on one of the established, older forums. They self-regulate by maintaining the conversation at a professional level and not responding to the riff-raff. Music isn't impressed by college degrees or union cards...it's "can you cut it" and "what can you offer". We all learned that lesson in high school band when we would challenge for the next chair. Your band teacher would turn his back and let you both play the same piece; he then would pick the better performance...that's it! That said, and this being a new forum, I suggest that if we, the early posters, wish to keep this on a higher level, then we not let our discussions lower it to the level of CL. Now, lets all take a deep breath and climb back up the ladder and talk about professional matters!
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Post by driftwoodtide on May 12, 2012 14:42:18 GMT -5
good comments gwbasley
I'm a full time professional music producer, recording engineer, musician, and songwriter. I've been doing this many years, but only this year did I make the jump to full time. I'm keeping very busy but frankly not busy enough yet. While I don't have hours to waste reading every post on a local forum, I do think there is great value in getting to know the musicians and music scene in my general area, even though most of my work currently is from out-of-state. I would really love to see the local music scene evolve and progress, and to do that we need to be quick to offer a helping hand to each other, share advice, and work together to improve things.
Yes - there are WAY too many people with minimal talent who are willing to work for nothing or next to nothing, and that makes it very difficult for those who really are trying to make a living in this business, or simply have developed their talents to a high level and want to share them.
Lots of people will complain about this type of thing, and then when they want to record - they find the cheapest person possible to do it...thereby supporting the very thing that they claim to despise. Or, if they want lessons they might find the cheapest place to go...or go to a studio where the teachers actually don't make much because the studio takes an unfair portion out of their pocket. Or buy your music equipment wherever you get the most rock bottom price. These are just a couple examples. I know its hard, but its all talk until you back it up with your actions - in each of these situations COST, VALUE, and QUALITY are all independent of each other. To help improve the arts and entertainment scene, we need to focus on the VALUE and the QUALITY first and foremost, and just focus on keeping cost COMPETITIVE, not necessarily the ruling factor.
For example - I'd rather pay a few bucks extra for a teacher, salesperson, or studio engineer who is knowledgeable, innovative, creative, and really makes an effort to connect with me, my vision, and my needs. I want someone who is interested not just in making a quick buck, but in EARNING my next piece of business and my referrals as well. You can record with some teenager with a laptop and a mic for $10/hour, but if it takes you 20 hours and the results are only "ok" was it really a better deal than paying $25 an hour and getting everything done in 1/2 the time and having it sound amazing? Likewise, buying gear at a great price is worthless if you don't get the right gear, the right advice, and good service after the sale.... I could go on...
Bottom line - if we want this to be a better music scene, lets focus on making quality music, building relationships based on value, and I think the issues with cost/income/etc will eventually begin to improve a little if we work hard on the other two items.
now - lets quit reading and lets go make some music!
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Post by gwbasley on May 12, 2012 22:57:58 GMT -5
It always goes back to that old adage, "You get what you pay for." I have seen some talented players working in Moose Halls for $50, but, you know what, they are stuck there...they never leave..and that is sad. I have been asked to play gigs like that, but I politely declined and through the years I've found my work with pros and get paid accordingly. I'm not getting rich, but at least I know I'm worth respectable pay to bandleaders. If you work for $50 once then they tag you as a $50 sideman. The better bands know what you get for that price...I'd rather work for free than to get that stigma.
You also mentioned getting to know one another...check out my suggestion under "new forum ideas".
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quite a few past and still present DJ's as well......I went to Hofstra and studied, was also accepted to Juliard and Manhattan School of Music...but Hofstra was the most affordable.