Tor
Riffologist Extraordinaire
Re: The Well #14 - Welcome to WahWah World!
Absolutely. There's some great read to find in this well.
Absolutely. There's some great read to find in this well.
The Well #14 - Welcome to WahWah World!
- Thread starter wahwah
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Al.C
New member
Re: The Well #14 - Welcome to WahWah World!
Geoff thanks very much for your insights this has been a very interesting read.
A question about session playing: If you get called into do a sesion, lay down something original that you came up with, and the song goes on to be huge and everyone in world can recognize the song just from your part (ie the guitar intro line to Van Morrison's Brown Eyed Girl) do all you ever get is the one time payment?
Geoff thanks very much for your insights this has been a very interesting read.
A question about session playing: If you get called into do a sesion, lay down something original that you came up with, and the song goes on to be huge and everyone in world can recognize the song just from your part (ie the guitar intro line to Van Morrison's Brown Eyed Girl) do all you ever get is the one time payment?
Hot _Grits
Buttery Toneologist
Re: The Well #14 - Welcome to WahWah World!
Ah, Ian Moss. I'd imagine 99% pretty much no-one on this forum except the Kiwis and Aussie have a clue who he is. 'Forever Now' is a shining jewel of a guitar performance.
Ah, Ian Moss. I'd imagine 99% pretty much no-one on this forum except the Kiwis and Aussie have a clue who he is. 'Forever Now' is a shining jewel of a guitar performance.
wahwah
GumbyLoveologist
Re: The Well #14 - Welcome to WahWah World!
Yes, that can certainly happen. It is most often the case that the session fee is a kind of waiver of any further rights to publishing royalties. There's quite a difference between a session for advertising and for demos or an album release. With the former, you can be sure that unless you were involved in the initial writing process that you will just be getting your session fee. In the case of the latter, I will often ask who it is who is paying for the session, and will adjust my rate to suit. If it is someone financing their own demos, I will give them a reduced rate, but if there is a record company involved, it will be the full rate, and possibly even a discussion about the possibility of a couple of points of publishing if there is going to be a lot of creative work involved.
Most of the time, the reality is that you can either take your $300 or $500 on the spot, or you can haggle about publishing points and end up with 5/8ths of sweet F A. It's important to remember that songwriting involves quite a bit of effort, and throwing down some parts on it once the bulk of the work has been done is the easy part, even if they become contributive hooks in themselves. The intro to Brown Eyed Girl would mean nothing without the rest of the song, including the big lyricless "tralalalala" hook that everyone sings along to!
If it comes down to songs that are incomplete, and the "writer" is saying "can you help me come up with a middle 8, or some lyrics for this third verse" then sure, you need to stop everything and talk about publishing royalties. But if it's a matter of coming up with some parts because the writer doesn't really know much about guitar parts, then that's just really doing the job you were called in for. It can be a fine line sometimes, and discernment is called for.
Cheers............................wahwah
Yes, that can certainly happen. It is most often the case that the session fee is a kind of waiver of any further rights to publishing royalties. There's quite a difference between a session for advertising and for demos or an album release. With the former, you can be sure that unless you were involved in the initial writing process that you will just be getting your session fee. In the case of the latter, I will often ask who it is who is paying for the session, and will adjust my rate to suit. If it is someone financing their own demos, I will give them a reduced rate, but if there is a record company involved, it will be the full rate, and possibly even a discussion about the possibility of a couple of points of publishing if there is going to be a lot of creative work involved.
Most of the time, the reality is that you can either take your $300 or $500 on the spot, or you can haggle about publishing points and end up with 5/8ths of sweet F A. It's important to remember that songwriting involves quite a bit of effort, and throwing down some parts on it once the bulk of the work has been done is the easy part, even if they become contributive hooks in themselves. The intro to Brown Eyed Girl would mean nothing without the rest of the song, including the big lyricless "tralalalala" hook that everyone sings along to!
If it comes down to songs that are incomplete, and the "writer" is saying "can you help me come up with a middle 8, or some lyrics for this third verse" then sure, you need to stop everything and talk about publishing royalties. But if it's a matter of coming up with some parts because the writer doesn't really know much about guitar parts, then that's just really doing the job you were called in for. It can be a fine line sometimes, and discernment is called for.
Cheers............................wahwah
wahwah
GumbyLoveologist
Re: The Well #14 - Welcome to WahWah World!
Mossy....what a legend. And then he sings! It's ridiculous how much talent is wrapped up in that one humanoid. Some of the stuff on that first Chisel album is other-worldly. And yes, "Forever Now" is stunning.
Cheers................................wahwah
Mossy....what a legend. And then he sings! It's ridiculous how much talent is wrapped up in that one humanoid. Some of the stuff on that first Chisel album is other-worldly. And yes, "Forever Now" is stunning.
Cheers................................wahwah
Pink Unicorn Horsey
Megä Pöny Rÿdr
Re: The Well #14 - Welcome to WahWah World!
I had no idea credits worked that way. Makes sense why John and Paul just decided, "Let's credit anything we write as 'Lennon/McCartney.'"
I had no idea credits worked that way. Makes sense why John and Paul just decided, "Let's credit anything we write as 'Lennon/McCartney.'"
T
thucydides
Guest
Re: The Well #14 - Welcome to WahWah World!
I need to check that out.
And you ww, thanks for a great well. I appreciate the philosophical insights quite a bit. I've been struggling.
I need to check that out.
And you ww, thanks for a great well. I appreciate the philosophical insights quite a bit. I've been struggling.
wahwah
GumbyLoveologist
Re: The Well #14 - Welcome to WahWah World!
The Seymour Duncans I have in my old Strat are SSL-1 in the neck, SSL-1 RW/RP middle, and an SSL-5 in the bridge. I love this setup. I think the SSL-1 is the best vintage Strat pickup around. I like what the SSL-5 offers in the bridge position. The extra gain adds punch to that position, and the slight top end roll-off takes out some of the squawk. It also toughens up the bridge/middle combination.
I also have a set of Antiquity Surfers that Seymour sent me to say thanks for helping to organize the Melbourne SDUGD in '06. They're ok, but they come up as being a little too hyped in the top end for my liking. I have ended up using one of them in the middle position of a '78 Ibanez Silver Series "Lawsuit" Strat, along with an SSL-1 in the neck, and the Classic Stack which came in the guitar in the bridge. Other than that, I have a set of passive Seymour Duncans in a Stewart Male/Warmoth bass, in a P/J configuration. They replaced the active EMG's that I originally had in there, and greatly improved the sound of the bass.
The SSL-1/SSL-5 set have been in my old Strat since 1985, when the original pickups finally died. They are definitely an integral part of the sound of that guitar.
Cheers...........................wahwah
The Seymour Duncans I have in my old Strat are SSL-1 in the neck, SSL-1 RW/RP middle, and an SSL-5 in the bridge. I love this setup. I think the SSL-1 is the best vintage Strat pickup around. I like what the SSL-5 offers in the bridge position. The extra gain adds punch to that position, and the slight top end roll-off takes out some of the squawk. It also toughens up the bridge/middle combination.
I also have a set of Antiquity Surfers that Seymour sent me to say thanks for helping to organize the Melbourne SDUGD in '06. They're ok, but they come up as being a little too hyped in the top end for my liking. I have ended up using one of them in the middle position of a '78 Ibanez Silver Series "Lawsuit" Strat, along with an SSL-1 in the neck, and the Classic Stack which came in the guitar in the bridge. Other than that, I have a set of passive Seymour Duncans in a Stewart Male/Warmoth bass, in a P/J configuration. They replaced the active EMG's that I originally had in there, and greatly improved the sound of the bass.
The SSL-1/SSL-5 set have been in my old Strat since 1985, when the original pickups finally died. They are definitely an integral part of the sound of that guitar.
Cheers...........................wahwah
wahwah
GumbyLoveologist
Re: The Well #14 - Welcome to WahWah World!
Thank you LesStrat, I appreciate that, and it has been my pleasure to host The Well. Thanks also to everyone who has contributed with their interesting questions and kind comments. It's been thought provoking for me too, to honour your questions with an honest answer! Thanks to J Moose for the opportunity.
I will keep answering questions for the next half-day or so, at which point, it will be the turn of your next host, Mincer.
Cheers..................................Geoff.
Thank you LesStrat, I appreciate that, and it has been my pleasure to host The Well. Thanks also to everyone who has contributed with their interesting questions and kind comments. It's been thought provoking for me too, to honour your questions with an honest answer! Thanks to J Moose for the opportunity.
I will keep answering questions for the next half-day or so, at which point, it will be the turn of your next host, Mincer.
Cheers..................................Geoff.
Rich_T
Kyuss_Rockologist
Re: The Well #14 - Welcome to WahWah World!
Crikey Geoff, I want to ask all kind of things after reading this well!
But really, how have you managed to stay so down to earth and normal with the musician's lifestyle? It seems like a whole different world to coming home from the office at 6pm and dumping your keys on the side.
Crikey Geoff, I want to ask all kind of things after reading this well!
But really, how have you managed to stay so down to earth and normal with the musician's lifestyle? It seems like a whole different world to coming home from the office at 6pm and dumping your keys on the side.
wahwah
GumbyLoveologist
Re: The Well #14 - Welcome to WahWah World!
I think the best way I can answer that is to start by telling you my initial motivations for wanting to be a musician. They were, roughly in this order.
1. To get laid.
2. To do something other than work in an office.
3. To pursue my love of music.
4. To be famous.
5. To make some cash.
One by one, and for different reasons, each of those proved themselves to be empty, except for No. 3. I got laid quite a few times, but I also lost a good one who was important to me, due in part to me being away on the road so much. I got to do something other than work in an office, but it didn't mean that I wouldn't have any responsibility. I didn't get famous like a celebrity, but I had a taste of being in a band that were getting lots of airplay and doing videos and interviews. It was bloody hard work. I've also known and worked with some people who would be called celebrities here, and they get hounded everywhere they go. I've made some cash, and I've spent some cash, just like everybody else.
I have had glimpses of the illusion of glamour associated with the lifestyle, but they have nothing to sustain us that is lasting. And I've gone from those illusions to the realities of having to do corporate gigs in a suit just to survive and support my family and my son, and then back to the illusions again. Throughout that process, something else started to emerge that did seem to have some kind of meaning and substance, the concept of service that I have touched on elsewhere here. When I consider what I do to simply be another form of service, it all falls into place. But part of that realization is that just about everybody provides some form of service. I'm determined to be honest with myself, and therefore I can only come to the conclusion that the nature of the service, or the form that it takes, is of no consequence, so there's really no difference between a good plumber and a good guitarist, other than the form that their service takes.
The state of our consciousness is infinitely more important than what we do. The big-shot Rock Star who treats people like $hit is really just a spoilt child who has not yet learnt that his ego is an illusion. Some of the most talented people I have met have been quiet, gentle souls, who's egos have been filled and emptied out enough times for them to realize that they are merely an illusion, and that what is real is the state of their being, which does not equate with whether or not they are rich, famous or successful.
These are some of the elements that have kept me grounded. There is no "specialness." Either we are all special, or none of us is, take your pick. So I just do what I do, just as you do, and neither is greater or lesser in any way. They may be different, but that's just one of the factors that makes life more interesting.
Cheers.................................wahwah
I think the best way I can answer that is to start by telling you my initial motivations for wanting to be a musician. They were, roughly in this order.
1. To get laid.
2. To do something other than work in an office.
3. To pursue my love of music.
4. To be famous.
5. To make some cash.
One by one, and for different reasons, each of those proved themselves to be empty, except for No. 3. I got laid quite a few times, but I also lost a good one who was important to me, due in part to me being away on the road so much. I got to do something other than work in an office, but it didn't mean that I wouldn't have any responsibility. I didn't get famous like a celebrity, but I had a taste of being in a band that were getting lots of airplay and doing videos and interviews. It was bloody hard work. I've also known and worked with some people who would be called celebrities here, and they get hounded everywhere they go. I've made some cash, and I've spent some cash, just like everybody else.
I have had glimpses of the illusion of glamour associated with the lifestyle, but they have nothing to sustain us that is lasting. And I've gone from those illusions to the realities of having to do corporate gigs in a suit just to survive and support my family and my son, and then back to the illusions again. Throughout that process, something else started to emerge that did seem to have some kind of meaning and substance, the concept of service that I have touched on elsewhere here. When I consider what I do to simply be another form of service, it all falls into place. But part of that realization is that just about everybody provides some form of service. I'm determined to be honest with myself, and therefore I can only come to the conclusion that the nature of the service, or the form that it takes, is of no consequence, so there's really no difference between a good plumber and a good guitarist, other than the form that their service takes.
The state of our consciousness is infinitely more important than what we do. The big-shot Rock Star who treats people like $hit is really just a spoilt child who has not yet learnt that his ego is an illusion. Some of the most talented people I have met have been quiet, gentle souls, who's egos have been filled and emptied out enough times for them to realize that they are merely an illusion, and that what is real is the state of their being, which does not equate with whether or not they are rich, famous or successful.
These are some of the elements that have kept me grounded. There is no "specialness." Either we are all special, or none of us is, take your pick. So I just do what I do, just as you do, and neither is greater or lesser in any way. They may be different, but that's just one of the factors that makes life more interesting.
Cheers.................................wahwah
wahwah
GumbyLoveologist
Re: The Well #14 - Welcome to WahWah World!
If you're coming to Melbourne, let me know, you can come along to a gig, and if you promise not to scratch it, I'll let you play my Strat.
Cheers...................................wahwah
If you're coming to Melbourne, let me know, you can come along to a gig, and if you promise not to scratch it, I'll let you play my Strat.
Cheers...................................wahwah
Rich_T
Kyuss_Rockologist
wahwah
GumbyLoveologist
Re: The Well #14 - Welcome to WahWah World!
Thanks for The Well experience forum bros!
Regards,
Geoff.
Thanks for The Well experience forum bros!
Regards,
Geoff.
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