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What makes you in-demand as a musician?


stoken6

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Play well, be prepared, dont be a dick all good, but I think the biggest thing a player can do to get called often is simply say YES. No interrogation, conditions, demands or excuses... just do the gig. Band leaders remember when you get them out of a bind and theyll NEVER give you a second chance to say yeah, thanks, Id love to but Ive been really busy lately & need to sit home & chill tonight

Custom Music, Audio Post Production, Location Audio

www.gmma.biz

https://www.facebook.com/gmmamusic/

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I'm non-pro and am not in demand as a musician per se. I'm somewhat of a hack of a player, I'm not going to wow anyone with solos and certainly can't play many types of music. Rock is about it, and even then no ELP need apply :)

 

That said, I can say that bands value me after I've been in them. I try my best to play as a band and fit in where I can--and hopefully everyone is of that mindset, or I'll be moving on...the whole can be and should be greater than the sum of the parts. It helps that I don't prefer to solo, and don't mind being the "glue" of a band's sound along with the rhythm section...

 

I also am very good at finding harmonies, particularly the trickier lower harmonies (most people can locate the 3rd or 5th above, but the ones under the melody are tough sometimes) and can do a pretty good high falsetto harmony needed for Eagles etc :) To me, a band without multiple backups is pretty boring to watch, and really boring to play in. It's a huge challenge to do good vocals, and I enjoy tackling this probably more than I do playing keys.

 

I'm always on time, or I let people know if I'm not going to be, things like that...I find it amazing how immature musicians can be. Just finding a band where everyone shows up, with their gear, with a decent attitude, knowing the songs--more than the half the battle right there, sheesh.

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Besides my previous attempt at humor....

 

I liked Wes G's original answer "don't be a dick".

 

Then act like a pro. Don't cause problems. Be early. Setup and get out of the sound people's way. Be nice to the waitstaff.

Don't carry an attitude. etc..etc...that has all been spelled out here.

David

Gig Rig:Casio Privia PX-5S | Yamaha MODX+ 6 | MacBook Pro 14" M1| Mainstage

 

 

 

 

 

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Just my anecdotal experience in my market:

 

First prerequisite: You have to be able to play. Band leader has to be able to be proud of calling you, and not regret that decision after the gig.

 

After that:

 

- Earn a reputation for doing your homework. Abilities, experience and capabilities vary. But being disciplined enough to put in the time is an option for anyone. There are tons of KB players who will sluff through a gig just comping changes on Rhodes and B3. But if there are opportunities to put in the work to nail more than that (depends on the gig), put in the time. It's one of the things all my bandleaders have commented on about me; I know it's one of the reasons I'm called.

 

- Get along with people. More than 'don't be a dick'...try to be the guy that brings good energy to the gig. It's infectious, it makes the whole band sound better...and it's one of the few things I have a choice about every time I pack my gear into the car.

 

- Act like a professional. Which simply means stuff like making sure your gear is in good working order, stop the damn noodling after you've made sure your rig functions and levels are set, pay attention to the client first and your arcane conversation about Cory Henry's solo later, dress appropriately and don't be the source of drama.

 

- Don't bitch about the money if you took the gig in the first place. If you feel it's light, politely decline the gig the next time.

 

- Keep getting better. If you build the lifestyle of trying to improve as a musician just for your own personal growth, your playing will sound better every gig you play. And bandleaders hear that stuff.

 

 

..
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I don't know what attracts people to my keyboard playing, I only know it happens. 30 years or so ago when I was playing in cover bands, I started getting calls to play with headliners we had opened for. This led to me being asked to re-locate to L.A. by some of the people I played with, which led to playing with even more of the 60s & 70s rock legends I grew up on.

 

It's not because I have killer chops (I can barely read music), or cover a bunch of genres (my jazz playing sucks, I know no "standards"). I don't specialize in one instrument, nor style.

 

I can only surmise that I'm easy to get along with, I don't conflict with the star player(s), and I have fortuitous predelictions when I improvise.

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I noticed some people listed "pro gear" as a reason. I would tend to disagree to a point. I'd say as long as the gear is adequate to do your job, then nobody really cares beyond that. I doubt if one keyboard player has ever been hired over another because his keyboard is red.

 

Minimum requirements are that it doesn't break down during a gig, and can supply (under direction of the user) the required sounds. Most folks won't know the difference in a live setting between a ravensoft piano and a Casio piano.

 

One thing they will notice is stage footprint, stage volume/sound, and setup/tear down time. I keep my rig simple, can fit in a compact space, am prepared for any situation sound wise, provide my own high quality labeled DI's, keep my patch volumes well leveled, etc. At the end of the day, no hassles from me and everything just works and sounds right.

 

I was at a gig about a month ago where the drummer was also filling in. I was all set up and ready and he was still setting up his drums for quite a while. Sound guy is waiting to be able to mic the drums and start sound check, and kept saying to the other band members stuff like "geez, this guy is SLOW". "What's taking him so long?" He was on time - one of the first ones there - and was set up early enough to finish sound check on time, but much slower than what they were used to and it ended up reflecting badly.

 

So I'd say the things about our gear that are important to us are probably not the things about our gear that is important to others.

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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- Don't bitch about the money if you took the gig in the first place. If you feel it's light, politely decline the gig the next time.

 

This is super annoying. As a bandleader I've had this happen with a few musicians who I've given multiple gigs to - won't hire them anymore. And yes, everybody's been infoed about the money beforehand and they've accepted.

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To Dan's point: yeah - doesn't have to be "pro gear", but it has to be reliable.

 

I had a board fail on me at a gig (luckily my controller, not a sound source) - I limped through on one board, which wasn't pleasant, but I consider that experience to be my "warning shot". I can't let this band down with equipment failures again, as they would (rightly) choose not to work with me again.

 

Cheers, Mike.

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I noticed some people listed "pro gear" as a reason. I would tend to disagree to a point. I'd say as long as the gear is adequate to do your job, then nobody really cares beyond that. I doubt if one keyboard player has ever been hired over another because his keyboard is red.

 

Minimum requirements are that it doesn't break down during a gig, and can supply (under direction of the user) the required sounds. Most folks won't know the difference in a live setting between a ravensoft piano and a Casio piano.

 

But, in my experience anyway, a lot of the people I have seen out and about will tick at least one of the following boxes:

 

-Not have their own board

-Not have 88 keys

-One/several outputs are unreliable

-Not have a board with more than a basic set of 10 sounds (want an organ? it's a 'church organ'. Want a solo violin? It's a 'strings' section. Want a Rhodes? A Wurli? Well, you're getting E.Piano)

-Have a board with a full soundset, but don't know how to access patches quickly

 

The last big gig I hired for, I lent one of the other keyboardists my Kurz le61; she had a Korg SV1, but had no other gear or way to provide sounds that weren't on the Korg.

 

Short version: to me "pro gear" means nothing beyond "gear is adequate to do your job . . . and not cause anyone else a headache." And, too many people don't have the right gear to handle the gig, but figure that because they play well enough it's all good.

 

 

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I would agree with your last statement but argue that probably most have gear able to do the job if they knew how to use it. Not the gear - the user!

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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I spend most of my time in the theater world, where:

 

-I know how to teach singers

-I know how to accompany

-I know how to rehearse singers

-I know how to rehearse a band

-I know what needs to be fixed, and what we can let slide in order to deliver the best show we can with the time/talent resources we have

-I know how to help actors/singers feel emotionally supported and confident, while retaining the ability to constantly push their performances/comfort levels

-I know how to read a score or piano/vocal arrangement and translate it into something useful for rehearsals, and then something different for performances

-I know the show is never about me

-I know how the gig works, and can do my job with a minimum of support from others

-I am a neophyte re: sound design/programming compared to some on this board, but I have the gear to meet the requirements at a professional level, the skill to use that gear, the ear to know what's right and what isn't, and the knowledge to understand what a score is asking for in the first place.

-I understand vibe/genre/styles, so can hit the right tempos/feels for various songs.

-I treat my bosses with respect and deference, even if I think I know better.

-I listen to my band members and cast members, value their experience and input, and strive to give them an environment in which they feel that their skills are valued

-I'm modest to a fault ;)

 

. . . and I play well enough. In many ways I'm behind a lot of other players I know in the area (though I've been dedicating myself to solving that problem), but a lot of the things above are, it turns out, not as universal or easy to achieve as one might think.

 

Great post. Can't stress enough how much a good ear and score reading has kept me working from transcribing parts for myself and others in the band, taking gigs with no prep time - get the tempo and go, singers showing up with a piano/vocal score or lead sheet and needing to learn their part and or harmony parts, and in teaching I pass on these skills to my students that show promise just in case they want to work too. Though fewer and fewer these days will even consider music as more than hobby.

Yamaha CP88, Casio PX-560

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Passion and skill mix I think ... have a fair balance of skills, none over the top by any means. I do my homework, show up on time and into it almost always. I continue to study and practice outside of the band/gig scene which helps and fulfills me a lot. Continue to try and grow even in my 60's. Try not to be a AW most of the time. I'm friendly and people oriented by nature, gregarious like my Dad is who grew up on the lower east side of Manhattan as a Bowery boy (literally). Horace DeBussy "Sach" Jones is my model! I gargle and use deodorant too!

 

 

 CP-50, YC 73,  FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122

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I guess, it's my sartorial spendor _ I look really hot in slacks.

Great attitude .. as many here can attest.

Humble.. I am one of the most humble guys out here, and I play great too.

usually on time..

I carry an aged cannoli in my pants leg, which does not hurt my appeal with the ladies.

Didi I mention humility?

You don't have ideas, ideas have you

We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement

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I think the things I've done to create demand are:

- play well and play appropriate (e.g., no jazz licks on a blues gig)

- be a strong accompanist

- be a strong soloist

- listen and be sensitive to what the others are playing or singing and strive to complement what's happening around me. My favorite players give a noticeable lift to every situation they're a part of -- that's my aspiration.

- be easy to get along with and be a team player

- be on time or a little early

- have gear that sounds really good

- be prepared (I usually over prepare when possible)

 

I find that when I do all of the above really well my reputation improves. All and all, I think reputation becomes most important. It's the reason people I don't know call me for gigs.

 

On a related note, I've seen excellent players fall out-of-demand because they don't check some of these boxes. They then have trouble getting back in demand because some part of their reputation became tarnished.

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I have a great studio/practice space and I keep the fridge stocked.

 

Weird...I get tons of calls.

You want me to start this song too slow or too fast?

 

Forte7, Nord Stage 3, XK3c, OB-6, Arturia Collection, Mainstage, MotionSound KBR3D. A bunch of MusicMan Guitars, Line6 stuff

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After 6 years of gigging, I finally have some solid live chops, but this was obviously not always the case. Early on my greatest strength was the simple lack of keyboard players. In my estimation there are around 20 guitar players for every keyboard player. This simple fact got me opportunities. What I lacked in skill, I made up for with determination, practice willingness and some natural musical talent which helped me to get continually better.

 

Six year later, I have reasonable chops, the ability to sing lead and harmonize well while still playing, have a large palette of sounds via vst's and the ability to fit in well with the band. I don't care about the money. My keyboards have given the band the ability to do songs outside of the guitar driven (imo boring) world and have given the band a more dynamic, balanced, interesting and better sound.

 

It has been a sort of an apprentice type situation. Now I am a journeyman, not yet a craftsman, but some solid skills.

 

Yamaha S90XS, Studiologic VMk-161 Organ

Small/powerful (i7, 32GB, M.2 SSD) PC controlled by 10" Touch Screen

Cantabile, Ravenscroft 275, Keyscape, OPX-II, Omnisphere 2, VB3, Chris Hein Horns, etc.

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