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Thread: Best way to market highend freelance studio musician

  1. #11
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    Personally I can't imagine shipping a song out to get a part put on it that I do not have a hand in producing. That seems so foreign to me that the market, the price, etc. are a non-issue. I know guys do it all the time, but I call that "brokering" and not "producing". I can count the number of times I have done it and that number is zero.
    Todd Robbins
    TX3 Productions, Inc.
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  2. #12
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    Yep I agree, this would have to be aimed at lower level folks. Like me. Ha ha. And home recordists, demo makers, etc. For sure.

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    Happens all the time Todd... and every step along the way, every person involved seems to think they know more about the project than the originator. This is why I pretty much don't do this anymore - it just isn't worth the PITA.
    Ken Morgan
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    I had a producer do this last week, to put a lead vocal on a song for record with a great singer with great instincts. He got back and it was good but it wasn't great, and it in no way lined up with his desires or expectations. Surprise.

    For those who have no vision, it's great. For those who don't have any expectations for what they want, it's great. For someone who likes to steer a project and knows where exactly they wanted to go, it's not a good choice.

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    Quote Originally Posted by Rowan View Post
    Yep I agree, this would have to be aimed at lower level folks. Like me. Ha ha. And home recordists, demo makers, etc. For sure.
    Pretty much.

    Around here, unless you are directly involved in the country scene you might not have all that much luck easily finding a banjo player, or similarly a really good violinist. Of course, if you are attached to the music business directly in some way, it's not all that difficult. But here the best path to that (on the cheap anyway, for those less attached to the business with fewer contacts) is any local university with a music program, where the kids always need the money. Put up a "I'll pay $50 for a quick Bassoon overdub on my project...." flyer and you'll likely get calls the same day.

  6. #16
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    One thing I've found to be true at least most of the time - marketing is at least important, if not more important, than the actual delivered product. I've been (in a different life) involved in projects on which everyone thought the remote tracks provided were substantially less suitable for the songs at hand, but because they were done by someone with a name, the client/money people decided to use them anyway in hope it would add 'legitimacy' to their efforts.

    Oddly, these were people claiming to be 'roots' artists.
    Ken Morgan
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    Such excellent perspectives here. Can't thank you guys enough.

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    Lynn's post just made me realize the parallel here with outsourced mastering, never seems to come back great. Just listening to a CD here right now "mastered in Nashville by Luke Gilfeather". Someone I like very much is hoping I will praise it. I can't. We could have done far better just here on the NS-10ms ITB.

    Now I understand this challenge. Yep, there's no way skilled producers are going to use this service, even mid level. Because experience is that the result may be good but probably not great, whereas even if you had to pay a bit more, having someone physically there allows that live two way feedback loop.

    So unless it was an ISDN type session, which is cost prohibitive, it wouldn't ever be something that could be scaled with producers. Thanks for showing me the light. I put her in contact with TrueFire, maybe we can find some training video opportunities for her.

  9. #19
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    Quote Originally Posted by Lawrence View Post
    Put up a "I'll pay $50 for a quick Bassoon overdub on my project...." flyer and you'll likely get calls the same day.
    Funny. I'm trying to think where I'd put up a "Need a quick Bassoon overdub" poster. Made me laugh.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

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    Quote Originally Posted by 3daudioinc View Post
    I had a producer do this last week, to put a lead vocal on a song for record with a great singer with great instincts. He got back and it was good but it wasn't great, and it in no way lined up with his desires or expectations. Surprise.

    For those who have no vision, it's great. For those who don't have any expectations for what they want, it's great. For someone who likes to steer a project and knows where exactly they wanted to go, it's not a good choice.
    There are only two scenarios where I'll use remote musicians:

    - Drummers...but I'll send them an extremely detailed chart and an excrutiatingly comprehensive drum machine mock-up, and request that they more-or-less "play this" (albeit with their own spin)

    - Experimental, avant-garde and/or improvising musicians ...and with them, you pretty much want to be surprised; if you go into that project with "desires or expectations" you're in the wrong business.

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