I've been doing Mellotron/Chamberlin/Optigan session work for years
If you're bringing your Mellotron to do sessions, the fee should be about $250.00 US per day and up based on the rarity of what you bring. For example an Optigan fetches less and a Chamberlin M1 fetches way more. Insurance may also be needed depending on where/how it's being brought. The amount is the same whether you play it or the client plays it.
A contract also needs to be agreed upon stating that the machine would be cared for in a safe and secure environment at all times and especially if left overnight at a studio or used in a live setting. Sampling it is not an option without negotiation of extra payment. If you're afraid they'll sample it secretly without your consent, then take the power cord and tapes with you if you discover you can't trust the character of the client. Each 'day' in the contract = 8 hours standard workday. You should be present at all times when the machines is being used, and you may have to tweak it for adjustments. The client should be told about expected tweaks and costs well before the studio time is booked. Tools for adjustment should be brought with you.
These are guidelines but they've been used in the industry and should be expected by the client if he or she is a professional. It's not a DX7 you're bringing and you need to take these precautions. You likely won't get any interest or money for the digital versions because they aren't historic items.
A client who doesn't agree to these guidelines is a 'risk' and probably shouldn't get any of your time. Obviously if you know the client well then it's different, but some kind of agreement still needs to be made.
On Tue, Feb 12, 2013 at 2:03 PM, tron400
<tron400@yahoo.com> wrote:
Fritz,
This has gotten me thinking about some of the studio work I've done. One session was also a jazz group. They rented the studio for 3 hours and expected to do an entire album in that time. We did it, but I think it was a little sloppy.
Another session was with Pierre Maheu (a.k.a. Rocky Hart). He was an interesting guy. I learned how to turn my ears into cheap speakers from him. He would cup his ears like someone trying to hear, but backwards, so the backs of his hands were facing forward. Then he would turn his back to the studio monitors so his cupped hands were facing them...made the monitors sound like a cheap radio. He was once married to Jiggs Allbut of The Angels (a.k.a. The Halos) and produced some of their singles.
Bernie
--- In
mailto:newmellotrongroup%40yahoogroups.com, fdoddy@... wrote: > > Wow, I didn't know that Bernie. I use to do a lot of work as a session bassist before I got into full time composing. A lot of it was crap, but once in a while I'd work with great players and/or interesting projects. > > The weirdest session I was asked to do was to play bass in a electric power jazz trio, whose creative muse was Ornette Coleman and they employed his concept of "harmelodics". Now, a jazzer I am not....I was given a brief lead sheet, a set of rules, we counted off the song and away we flew. playing as fast and furious as possible I had NO CLUE what I was doing yet after a particular "great" take, I was told "Man, Fritz that was fucking great!". I still laugh about that, because I had NO CLUE. I felt embarrassed to get paid that day. > > > fritz > > > > > > > > -----Original Message----- > From: tron400
> To: newmellotrongroup > Sent: Tue, Feb 12, 2013 7:03 am > Subject: [newmellotrongroup] Re: On the side session work. > > > > > > Well, I'm not a Mellotronist, or even a keyboard generalist, but I have done some session work as a bass player. Some of it was fun. Not my cup of tea, though. > > Bernie > > --- In
mailto:newmellotrongroup%40yahoogroups.com, "Sean" wrote: > > > > Any you do session work as a Mellotronist? Wondering, since I'm putting out my shingle as a session musician here in Fresno. All in the on the side, bonus money, and get to meet people, sort of way. > > > > -Sean > > >