A Quote by Robert Moog
The mini-Moog was conceived originally as a session musician's axe, something a guy could carry to the studio, do a gig and walk out.
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In most of the stuff that I've done over the years as a sideman, I wasn't really a session musician, because to me, a session musician is a guy who makes his living in the studio, and I never really did that.
I am a session guy and a studio musician and whatever you need me to do I will do it.
A lot of people have said 'people should see you work in the studio,' because a lot of people don't realize I'm an actual engineer. I don't walk in and have some guy grab the board. I have my own studio and soldered every wire in the studio.
Studio Ghosts: When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out.
The primary goal of management education was, as originally conceived, to impart knowledge that could be applied to a variety of real-world business situations.
As a musician and a guitar player, I can noodle as well as anybody. But from my background as a session musician, I always try to play what is called for by the lyric and listening to the song. As a writer, that's what I do, too.
What a good session musician does is listen to the song, to the artist, and to the other players. That way you can help bring out the song and help the artist express what they want to express. It's never about you stepping out and showing you can play something fancy.
It doesn't take a lot to get me motivated. I'm a studio rat. When I was in high school and I would walk into a recording studio, it felt like this magical place, this temple, this womb that I could escape into.
I always feel like out of every session that I do, whether it's a record session or even a concert, I like to think that there was something in there that I didn't do before. That's my goal.
I used to carry a notebook to the studio. I don't do that no more 'cause I don't have the time to write anywhere but right there in the studio on the spot. So when you hear my stuff, know that I wrote it in the studio.
Dave Guy, the trumpet player, is an incredible musician. He came into the studio one day, and they had just cut a cover of "Sign, Seal, Deliver" for something with Sharon Jones, and I just was blown away by how they got that sonic. I mean, it was just so much the real deal.
I'm a great believer that actors are very similar to session musicians. You wouldn't ask a session musician, 'How do you play jazz,' and then, 'How do you play classical?' They just do it, because if they don't do it, they don't eat.
I was never pushed into the business. I wanted to play the guitar. When my dad found out I could play pretty good he took me into the studio one day. I did my first session for his label. We did quite a few sessions up there.
It was a great learning curve because I knew I could put on a session, but I couldn't set out cones straight! That's one of the hardest things to do in coaching, little things like that to be able to prepare a session properly.
A studio session ... provides the greatest chance for control. Even though there is total freedom, I still dislike studio photography and the contrived images that usually stem from this genre.
There's times I've been quite nervous doing session work, such as when I'm asked to play the violin in a 'country and western' style or a 'gypsy' style. I'm not very good at that sort of playing at all. I think it's important as a session musician to have your own voice.
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