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Pro's and cons


bass_ferret
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[quote name='99ster' post='145425' date='Feb 23 2008, 01:46 AM']As the old joke goes:
Q: What do you call a guitarist ([i]bassist, drummer, singer, etc[/i]) without a girlfriend?
A: Homeless.

I know a bass player in a huge band - and I mean internationally very famous...
But because he's not part of the publishing deal he only makes any serious money when they tour.
He could hardly be called poor - but I was astonished when I found out he little money he makes relative to the fame of the band.

And another friend from a pretty well known band in the 80's/90's (major label deals - 10 LPs, toured the world) - who really does struggle to make ends meet...
They had a fantastic studio built for them - which they got to keep when they were dropped by a major label. They were forced to sell it for an absolute pittance a few years later - as they were all broke & were desperate for the cash.

Some of you may have seen this piece before by Steve Albini (Nirvana producer): [url="http://www.mercenary.com/probwitmusby.html"]http://www.mercenary.com/probwitmusby.html[/url]
Probably best not to read it if you're young & dreaming of being 'signed' & becoming rich & famous.

Being a 'pro' can very often be a very hard career choice - and my feeling is that it's not going to get any easier...[/quote]

Really just adding this for balance, I'm not disputing that what you write is true, but I know plenty of players who are in signed bands, tour, do sessions, write, produce and freelance and do very nicely out of it.
The stories you speak of do seem to exist but so does the opposite
I guess we just need to go into it with heads up and eyes wide open.
Jake

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  • 8 months later...

i have been lucky enough to earn a full time living from the age of 18 with touring bands cruises resident bands ect on summer seasons im now 28

i have been lucky enough to work in many parts of the world over the years
but i am willing when required to work a 9 till 5 job in the real world .if the music ever stops .
i am thankful for the talent i have been lucky enough to be given ...........................................................................

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I have the greatest respect (and a small measure of envy) of any player who is a pro. Yes, sure, there may be a few who couldn't play their way out of a paper bag but the vast majority, by the number of playing hours they do and the discipline imposed by having to get it right, will be able to outplay the likes of us part-timers.

As a youngster, I was playing at Butlins in '62 and we were offered a 'contract' by the MD at the place. I said at the time that I felt that music was a great hobby but a poor career. Was I right? I did well enough in building and civil engineering and I still enjoy doing two/three well-paid gigs per week, but what of the others in the band?

Drummer and guitarist became big players in music electronics, Drummer also doing sessions.
Trumpet player wrote songs some for Cliff, Hollies, Franki Valli; oh, and Elvis
Singer did some sigtunes on TV
And the singer's baby went on to join Roxy and Straits

They all have happy family lives, so in this instance I was probably wrong.

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I was pro for a number of years back in the eighties. I actually managed to earn enough to get and pay a mortgage on the proceeds, but only after others provided guarantees.... Some stability, eh?

I'm confident that the "driving for a living" as previously suggested (regular 4 day tour started in Mablethorpe, to Brighton, to Hunstanton then Leeds, Our manager was called Mr Yoyo!), didn't make me any better player, but it sure was a great lifestyle choice at the time, and has never looked out of place on my CV.....

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I'm far too much of a wimp to even contemplate risking my livelyhood on my bass playing. I'm happy with the tried-and-tested stability and regular income that a 9-to-5 office job gives me. Playing bass is a hobby for me. A hobby that I like to think I approach with a professional manner. When I'm in an established covers band it's a hobby which pays for itself, but not much more.

I am envious and respectful of those who have taken the plunge and chosen a career in music. I do think that the difference between a pro and non-pro (con?) is just that, a decision.

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I guess its as much an attitude as anything (for the record, I am not a pro).

Many people who freelance, particularly in the Arts, engage in a range of activities that generate income. An actor, for example, may do tv, adverts, repertory theatre, voice overs, radio plays, corporate videos, live work, school workshops, acting lessons, etc. A musician is no different. One will play live every day, sometimes twice or even three times, and earn a good living. Another may never see the outside of a recording studio. Some may teach only, others may write library music. But I guess most people will operate in a mixed economy and do a bt of everything. I guess the secret is to have as many irons in the fire as time allows, get as broad a range of skills as you can (e.g. a jazzer who doesn't play double bass is in trouble!!), learn to read chord charts and dots, play as many genres as you can, write music if you can, build networks, do studio and live work, teach privately, for local authorities and for colleges, teach bass and guitar (and piano and cello and anything else you can), do the job, stay sober, be cool.

Personally, I couldn't really cope with the chaos, the not knowing from one month to the next whether the work is going to dry up. No sick pay, no holiday pay, no pension fund etc etc. It is, as has been said, a lifestyle choice. I wish I could but I can't (I am not a natural born risk taker, never was). I respect people like Jake a lot and a big part of me envies them but, until something substantial comes in (an unlikely event), its the criminal justice system and a monthly paycheck for me.

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