How much can you really make playing sessions in Nashville?
HTML-код
- Опубликовано: 9 июл 2024
- There are a few different ways we get paid. Broadly, these are from union sessions ("on the card"), indie sessions ("off the card"), royalties, and special payments. Let's check out each of these scenarios, including the scale wages for each kind of session, such as masters. Enjoy!
MERCH: the-jo-store-2.creator-spring...
GUITAR AND HOME RECORDING GEAR:
*I will make a small amount of money if you order through the links below, at no extra cost to you*
Throbak Overdrive Boost:
shop.throbak.com/ODBJO
Throbak 55/56 SB MXV P90s:
shop.throbak.com/5556JO
GREAT mics for speaker cabs:
Heil PR30: amzn.to/3R3u0Mm
Shure SM57: sweetwater.sjv.io/AW5D4N
Sennheiser e609 Silver: sweetwater.sjv.io/oqJWrE
My acoustic microphone:
Miktek C5 small diaphragm condenser: sweetwater.sjv.io/EKAj3Q
They come in matched pairs, too: sweetwater.sjv.io/NkEVZb
Mic cables (mic to pre, pre to interface OR mic to interface):
15 ft: sweetwater.sjv.io/LXEG9o
20 ft: sweetwater.sjv.io/9gq3Kj
50 ft: sweetwater.sjv.io/k0AXx3
Audio interface:
Universal Audio Apollo Twin X Duo: sweetwater.sjv.io/xkoP7R
Monitor cables TRS-XLR male
-5ft (right monitor) sweetwater.sjv.io/KjEAQe
-10ft (left monitor) sweetwater.sjv.io/q4oqPg
Monitors:
Yamaha Powered 5" Monitors HS5: sweetwater.sjv.io/k0AXm3
Yamaha Powered 8" Monitors HS8: sweetwater.sjv.io/AW5DbN
HS8 bundle with stands and a sub: sweetwater.sjv.io/m51BAa
If you do want to go ALL OUT, here's my mic pre:
Chandler TG2 Abbey Road edition: sweetwater.sjv.io/QyEgox
requisite PSU-1 power supply: sweetwater.sjv.io/eKjG9X
==GEAR I use EVERY DAY==
*I will make a very small amount of money if you order through these links below, at no extra cost to you*
Revv D20 sweetwater.sjv.io/6eAaLQ
UA OX Amp Top Box sweetwater.sjv.io/vNyLk3
PolyTune headstock tuner sweetwater.sjv.io/k0znKV
D’Addario NYXL 10-46 sweetwater.sjv.io/daLXW2
D’Addario NYXL 11-49 sweetwater.sjv.io/Nkzdx1
D’Addario 10.5-48 (VERY COOL) sweetwater.sjv.io/y2yDKG
D’Addiaro Baritone 13-62 sweetwater.sjv.io/
Dunlop Large glass slide 213 sweetwater.sjv.io/k0zndV
Revv Shawn Tubbs Tilt Overdrive sweetwater.sjv.io/0ZmraE
Nobels ODR-1 Natural Overdrive sweetwater.sjv.io/oqz2ME
Jackson Audio Hourglass Dual Compressor sweetwater.sjv.io/R5YY1y
Line6 HX Effects sweetwater.sjv.io/g1DznX
Eventide H9 MAX sweetwater.sjv.io/EK9n6D
Strymon Mobius Modulation sweetwater.sjv.io/75yAg5
Strymon Timeline delay sweetwater.sjv.io/LXnvk0
Meris Mercury7 Reverb sweetwater.sjv.io/q4ARdg
Meris Polymoon Delay sweetwater.sjv.io/rQGvdD
Revv D20 sweetwater.sjv.io/6eAaLQ
UA OX Amp Top Box sweetwater.sjv.io/vNyLk3
Blackstar HT Stage 100 Mk III sweetwater.sjv.io/k0JbJd
Support the channel:
Paypal tip jar: ostrandermusic@gmail.com
Venmo tip jar: @justinostrander
My guitar setup guy:
www.macmillanguitars.com
My favorite studio headphones:
www.gk-music.com
0:00 This channel is all about creating hooks.
1:29 A cool song I was working on recently
2:26 Why is this SO cool?
5:31 Course coming soon!
5:44 SO, how do session players get paid?
7:29 Nashville runs on a 10/2/6 session schedule
11:22 This is what a union time card looks like
13:11 Every session has a session “leader”
15:30 Let’s talk recording scales and payment
23:38 the AFMSAGAFTRA fund
27:18 Special Payments
Please SUBSCRIBE, and thanks for hanging out! 
Видеоклипы
"Tools for the Creative Guitarist" is exactly what I come here to learn, and I'm pretty sure I want to buy in when your course is released. You've already elevated my playing just by being a good influence, a player I listen to carefully and try to break down what I'm hearing. [I know others love to hear about and talk about the gear . . . it's the sound and the player input that I'm trying to soak up here.] Our non-professional band tries to look and sound professional. Appreciate your help so far. 🎸
This is quickly becoming one of my very favorite YT channels. Love the way you provide really interesting content with great playing, tones, and tips. Many thanks Justin!
First off, man... this is insightful. If someone wanted to try and move in this direction, might be the most informative thing on RUclips. Also, I feel like you buried the lede a little with your closing seconds. You are getting paid for your thousands of hours honing your craft. I am a former gigging guy turned glorified enthusiast. I keep saying your (you guys, Buk, you, Pierce, etc) ability to execute - when it counts - is the super power. To make a 'part' in heat of battle, being watched, with the clock ticking is amazing to me. Great vid and you guys deserve every penny... and probably more. No need to respond here.
My comment to your post is: DING DING DING!
So interesting to get a peek behind the Nashville recording curtain. Thanks for sharing and your constant honesty!
That’s a great video, really appreciate the detail and perspective. Thank you!
Never heard someone describe session work in such detail. Very informative. Thanks!
Love that you are sharing this inside knowledge. Thanks!
Thank you for this well laid out explanation. Much appreciated
Justin, I’m a retired Tv/Film guy that basically functioned as a one-man band. Or, you could think of it as a musical veal fattening pen with Logic. Thus, I was a unicorn of sorts due to the fact that I was a corporate employee for a multi national. This makes me think no one who knew me in my rock rat daze would’ve dreamed I would eventually have health insurance and a home.
I often wondered how the “math” was happening in the 615 up here in the 865. (Tho I still have many dear friends down there you probably know and work with.) I was lucky enough to be sent down to function as producer and have some stuff tracked on occasion. They were fantastic experiences and everyone was TOTALLY pro.
Thanks again for pulling back another veil on how the machine is really run. You folks kickazz.
Thanks for the breakdown. I’ve been curious about this forever. Exited about the course!
Thanks for such a detailed and thorough explanation of this Justin! It's really eye opening.
Very enlightening. Thanks Justin.
Thank you SO much for sharing all this info. For those of us outside the session world, this is all super mysterious stuff.
Such info for someone who just got to town. Thank you so much!🙏
Great video! I’ve always wondered about this topic. Now I know. Thanks for sharing!
Very, very informative and interesting Justin. I heartily applaud all of the session musicians like yourself who really are the makers of the music, thank you and I will be tuning into this channel more to explore what I find to be really fascinating. Peace to you and yours.
Super interesting. Thank you for this video.
Dunno what that progression is called, but man Justin that IS compelling. I’ve rewound and listened to it a few times and will do so again and again.
Check out Tory Slusher. The best guitarist in the world by 100 miles. Now you know.
Excellent video, thank you!
Thanks so much, Justin.
Thanks for the insight, very interesting!
This was great information, thanks Justin!
Very interesting. Quite a bit different than I envisioned. Thanks for that insight.
Wow! wish I had this knowledge a long time ago. I'm learning a lot about Music City and how it works. Thanks!
I am a union electrician with 40 years of experience. (and am also a guitar player, for fun). Sounds like you and I make around the same per year. Even though I love my job, I think I would love your job more. :)
Great info man. Keep on rockin.
Excellent playing as usual.
Of all the similar videos that have been popping up lately about how musicians make, this is the most insightful and well done I've seen so far. As a canadian session musician, we often think and or wonder if the grass is greener south of the border. Based on this and albeit even only for Nashville, being that it's still a bigger market, yep, you guys have it better by a fair margin. Great work and thanks for the awesome content.
Fellow Canadian musician here. Our rates are similar except we get paid in our weaker currency. And there's a lot less work. I agree this is the most insightful video in this currently popular topic. cfmusicians.afm.org/uploads/file/SRLA%20-%20Canadian%20Summary%20Chart%202023_CSrev.pdf
And I think the last time I did a session on contract was in 2007. I see no reason to rejoin AFofM since I no longer tour.
Lot of stuff going on behind the scenes - wow! I can see how a musician new to Nashville would greatly benefit from a business course in all this as well as a knowledgeable mentor to help someone navigate this without getting eaten alive. Thanks for your channel, very interesting and informative.
What a fantastic video have a wonderful day Justin ❤❤❤❤❤❤😊😊😊😊😊😊
Cool video. The stuff nobody ever talks about.
Can’t wait for the course to be released!
Wow. Thanks so much for your content. You are so honest and humble. It’s refreshing. Wish these kids on RUclips from Nashville with your first name were as honest and forthcoming as you instead of bragging about their unattainable gear brag fest over and over and over again.
As a teenager in junior high school, I used to dream of doing session work. Kudos to you that you made your dream work. It is very insightful, the information that you have shared with us. Thank you very much, and may your career stay successful
Very interesting/informative. Being a hobbiest guitar player who recently moved to the nashville area, and being friends with guys who are friends with studio guys, as well as someone following session guys YT channels, its interesting to see what goes on with the business from a working persons perspective
I need to up my session chops! Great Video man.
I subscribed to your channel also (it was at 497 subscribers at the time). Keep up the good work, your take on the profession is important! TC
Hey man! I saw yours and a couple others on this topic; thought I would post my own 🤠
Very informative
Great info for maybe a young guy or girl considering a career in music. Very candid video Justin.
I think that you guys deserve the same pay as back in the 90's. I believe that it still could be that way. Follow the money.
Cool video..Thanks
I must admit I was firmly in the "b2" camp. But the explaination of the #1 as coming from the major 3rd of the 6Dom7 chord makes a lot of sense. For some reason many theorists shy away from flattening or sharpening the root of the key.
I do love the movement that chord can bring though. Very popular in some older jazz standards (along with the b2...im sorry, #1 dim7 substitution)
Great content as always Justin
Yep, if it were a fully diminished chord, it would have an F instead of an E. Also common. Not fully diminishing it feels less “jazzy”
This is a great video. As a kid, after moving on from my dream of being a professional baseball player I dreamed about being a touring or session musician (drums). It’s always interesting to peek behind the curtain and see the nuts and bolts of getting paid. I think it’s interesting that as a session musician you are making a similar amount as I bring in as an attorney working as an independent contractor doing court appointed work and a little private work
“Can’t have any weird smells.” ROFL!
#1!!! I totally get it but that’s bonkers. Never would’ve considered that but I see where you’re coming from. 😅
Wow I feel lost listening to you talk about chords and how they're built and how they are made... still love to listen to gleen anything I can.
As far as the scales, great $ !!
Really enjoy watching your videos.
The course I have coming out starts at the very beginning. We start with the assumption you know basic chords and how to play a major scale. 👍
Will check in out for sure !!
This progression really showed your harmonic vocabulary! Im so jealous 😅
Thanks for the video....looks great also, what camera are you using, looks amazing
Thanks! FX30
Good info
Thanks as ever for your candor. You keep shedding good light.
Cool video...was surprised by the sort of abrupt ending....Felt a little like your mom caught you in your bedroom with a Playboy magazine....!😜
I edited out a cough 🤷🏻♂️
@@JustinOstrander I am not criticizing! I just thought it was funny! 🙃
Thanks for the info.. preciate you…( DanLannings line)
Hey Justin, thanks for the great videos! A quick question, what desk are you using there and how do you like it?
Spatial 33. It’s fantastic.
@@JustinOstrander Thanks Justin, I’ll check it out. I’ve been eyeing the De-Fi Platform.
Please do more overdub sessions.
I imagine "limited pressing" was for radio station promo copies in the old days?
Great info.Are you ever going to name those 15 #1's ? Thanks
As a producer let me add that 1) union sessions are rare these days 2) rates are mainly set by negotiation 3) session rates are competitive. You can price yourself out of a job. If your rate demand is too high, I just go to the next guy because, specially in Nashville, for every great player there are a dozen more waiting for a call. Having said that, who you know, your musicianship and your personality will be major factors in your success. Good luck to all.
Hi Justin
If there is an off the card session player who is the default leader/playing producer, and you are the only on the card player hired, are you paid as leader because you are the only on on the card subcontractor on the call?
Thanks for the video
✌️
I don't play - but you should do a video on how to structure and read a NASHVILLE session chart - that'd be interesting since you need to know how to read one whether your union or not......
There is a 3-part Nashville number chart series on my channel
Sounds like an artist could be into a song 2-3K pretty quick just for tracking. Great stuff Justin!
You’re not wrong! Helps if you put a few of em on one session though
Glad to see that contra bass clarinetists make extra money for their cartage for all of their Nashville sessions. Such a cool instrument, but not sure how often it comes up in that scene.
Almost or even absolutely never
So follow up questions; when would you get paid double scale and why? You didn't talk about low budget. What qualifies as low budget? What are your union dues like and what benefits do they give you?
Double scale is at the discretion of the artist. Low budget has an agreement the artist/label must turn in before tracking. Details at nashvillemusicians.gov. Annual dues are around $300. Work dues are ~3% I believe.
6/#1 is really how you write that in Nashville number? There isn’t a way to write first inversion? Thanks for sharing
The number system is less complicated than people make it out to be. In “normal” chord symbols, the progression is G E7/G# Am7 D7.
In numbers, it’s 1 6/#1 2-7 5. And I would write the 7s as exponents.
Great info Justin! Just curious, I'm a session guitarist living in LA, any thoughts on how to get remote work for clients in Nashville? I have quite a lot of years in the business and played with several big names. But session work in LA is quite slow. Seems most people have moved to Nashville. Any thoughts would be greatly appreciated.
There’s a quote here in town that I think rings true for a lot of people: “nobody cares about what you’ve done; they only care about the last thing you did”. I think you have to be physically here. You have to work with people in person and have a continual list of things you do that is interesting to others in order to expand your client base. It’s VERY hard to start and slightly less difficult to keep it going.
Also, there are just so many people here trying to do the same thing, it is difficult to imagine getting any momentum going if you’re not here hustling up every single thing you can. Hope this helps!
This is off topic but from this angle it looks like you might have a cable plugged into the echo output of your TTE?
If this is the case, that could cause a flat spot in the pinch roller and they are hard to come by now.
It’s plugged into output 2. I should remove it anyway
At 4:24, it’s cool because it’s Crazy… 😂
Great information ,I was just wondering if anyone gets pissed when you show the real deal .
Not sure I understand the question
That E is the 5 of the ii, so a secondary dominant function, right? So, I - V of ii - ii - V- 1
Yep. Notating it that way on a number chart is cumbersome. In the Nashville number system, everything is relative to the 1. If the song mods for an entire section, we call the mod and notate relative to the new 1.
It’s cleaner to write G E/G# Am D as 1 6/#1 2- 5. I would add the 7s as “exponents”
Is there still a system whee producers charge for gear rental on things like preamps or mastering gear? If so, do you pay any of that or is that on the artist/label?
I’ve never rented gear for a session.
I think you mean the studio renting gear to the producer/band artist or the producer renting gear from an outside company like Studio Instrument Rentals.
@@jaycareaga9929 yep that's what I meant. I was thinking of producers who own the studio
Always wondered how this worked
Who/how are benefits like health/dental/vision insurance, life insurance, disability insurance, retirement, etc paid for? I saw something about the pension fund. Does the union provide all those bennies at some kind of pro-rated cost based on how many card dates you work? I'm looking to go self-employed (software engineer) and the cost of benefits and the extra SS tax and whatnot is huge compared to my gig at a big corporation. I guess you are considered self-employed/LLC?
I pay my family’s health insurance on a group plan offered through the union. It is expensive. We’re due for our annual look at other options.
The pension fund was so horribly mismanaged, it’s now up to congress to prop it up. I am investing on my own and not counting on it at all.
Why not see E7 to am as a V7 of ii
You always stay relative to the 1 (G). You wouldn’t change the number relative to another chord in the key. If the song was in Am the V7 would be correct. Also I think most would write a song in Am as CMaj so E7 would be the III7
@@ericmarlow4915 secondary dominant chords function exactly in that manner. You in fact do change the number relative to what follows. It's common in jazz, classical, and pop music genres.
That’s exactly it. For one chord, it’s just cleaner to not call a modulation. And the melody of this song stays strongly in G. So I would write 1 6/#1 2- 5.
And I would put 7s as exponents
You guys should be paid well! All one needs to do is get their own recording rig and give it a try to see just how dang hard it is just to play in tune, in time, in the pocket and come up with memorable hooks and solos, and give arrangement ideas.....
Do you have ISNI number and IPI number? Are you in ASCAP?
No to all three. I do have a BMI number though, for the very very few songs I have cowritten that no one has heard
@@JustinOstrander
When I think of me and the guys I play with, and then I see your video, it makes me think about what we do. We are just a bunch of goofballs playing bad music and having fun.
Why do we do it?
The 10P-1A scale could also be named "the Lukather scale"
I thought your shirt said “Overdue Sessions” which would have been appropriate for this video on how/when we get paid.
The question now is, how many spots are open still for new session guitarists?
I would say there are already more players than work. There are only a handful of us who do it full time. And even then, many are writing and producing on top of it. It’s a different game these days where one probably shouldn’t be ultra-specialized any more. What you offer and how compelling it is to others will determine how much you work.
A one chord then just basically raising it to the sharp one, isn’t that basically a diminished?
Yes, but we’re not just raising the 1. The second chord is an E7: E-G#-B-D. It contains that diminished triad in it, but it is a simply a dom7 chord in 1st inversion. If fully diminished, that E would be an F.
@@JustinOstrander I agree with your explanation. Sure sounds like it functions the same though. Point taken. Thanks Justin.
@@denmar355 I agree, it does function the same as a G#dim7...it just sounds less jazzy. Think of G#dim7 as an altered E7...you have the b9 (F) in there instead of the root (E).
E7 in first inversion: G# B D E
G#dim7: G# B D F
You need to send me that guitar. I'll cover the shipping costs. Thanks in advance! 😄
Are you not able to charge an equipment rental fee too?
I don’t rent out my equipment. Some studios have a rate to use the room and then another rate to use whatever gear (mics, pres, etc) they have.
@@JustinOstrander I work as a videographer and I charge a labor fee and then a seperate fee for my equipment. I am surprised that studio musicians don't charge seperately for equipment since they are brining crazy expensive vintage guitars and what not. Regardless, it looks like y'all are making a good living doing it the way you do it now
If it’s “new country” ……you couldn’t pay me enough….
Last
Justin - sure, some people might be able to work the 15 sessions or more per week. I would think that your creativity might be diminished working that many sessions. What is the most that you have worked and what was the effect on the quality of your output? Maybe you have a different experience. Thanks, good video!
Yeah I’ve done that much. I’ve also done 4 in one day. You get into a rhythm, and you can still deliver. But you can burn out if you’re not careful
You mention self-employed but also union. Is the latter W2 or is all income 1099? 1099 income will get taxed at ~40% where I live and next thing you know you're googling what the heck is an s-corp, but I suppose that also means you get to expense any gear you buy.
Vast majority is 1099. And some accounts pay you as a W2 employee.
Most get paid weakly! LOL!!
“Snack or famine”
@@JustinOstrander LOL!
I emailed you a song to get your opinion on it and possibly get it professionally recorded and never received an email back. It was between one and two weeks ago when I sent it to you.
Hmmm, I’ll look again. Sometimes these things go to spam for no apparent reason
@@JustinOstrander it was the only email I could find for you
Sus Dim 4 🙃
Booooo
Check out Tory Slusher, the best guitarist in the world. Mediocre Nashville gear salesmen guitarists.
Are you in a union?
Yes, AFM 257.
If you're a musician moving to Nashville to try and make a living playing music in this modern age, you better have a significant other that has a great day job. Otherwise, you'll be broke and homeless.
21:08 I mean a trades person in the uk earns max £250 a day . From 7,30,am to 4,30 pm . Hard graft . So it's not bad what sesion musician earns
But it's not what I thought they'd get . I thought thay would get thousands for sessions . Maybe the top boys do
On the biggest records you can make 1500/day, 3k if you’re leading. And that’s just single scale
Today session musicians do not make a lot of money..
I would’ve disagreed 4 years ago, but the price of everything has shot through the roof
@@JustinOstrander I have been doing session work for the last 28 years or more and I can tell you cost of living wise, you are making less than scale on most sessions and your booked for less time…I raised a family 20 yrs ago just doing sessions, could not even support myself today doing the same work.. and that’s a fact..!
I think you’re right for the vast majority of people who do session work. I’m currently raising a family, paying bills/mortgage/private school tuition/etc…on sessionwork. There are VERY few of us who earn a good living but the key is playing on records for major label artists. If you’re not doing that, then a session career would definitely necessitate supplemental income sources.
@@JustinOstrander absolutely correct. And getting them butter gigs is just basically luck and who you know… if not, I will have to supplement heavily….!
@@rjmprod I think it's still mostly true that the cream rises to the crop in this town. I don't think it's all luck, even if there is some involved for everyone
Session guys in nashville make union scale and the top guys make huge money if they are actually being hired.
Playing live in nashville is a whole different story. You get nothing but maybe tips from drunk tourists.
I met a top session bass player that said he made more money playing live in Austin Texas.
Nashville is not the place to be if you wanna make a lot of money in music. Too much competition here.
Yes, the sessions you want are union gigs. You are then attached to the song and make royalties every year as well. I also know people who do VERY well playing shifts on Broadway. There are ways to make it work here, even if supply exceeds demand.