# Test questions to ask a guitar player in interview



## creativeforge (Aug 28, 2018)

SCENARIO: you're looking for a guitar player to collaborate on a project, for a short film, movie, video game, TV series, etc. 

Apart from listening to a few demos he/she has done, and getting a great vibe as a potential team player, are there key questions they should be able to answer? 

I'm asking for a very talented friend who I think should have opportunities, and trying to help him explore how to get ready to get a finger in the door. Since I'm not in the industry myself, I thought I'd ask the community. 

Thanks in advance!

Andre


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## creativeforge (Aug 28, 2018)

douggibson said:


> I've hired many musicians for projects over the years.
> 
> I can't, nor would I ever imagine, a "trick" question.
> 
> ...



Thank you Doug, very helpful answer. 

If I may ask a follow-up question: is music notation a deal breaker if the guitarist is not entirely there? He does have a great ear and can pick things up this way. He has the rest pretty good otherwise.

Thanks again!

Andre


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## SchnookyPants (Aug 28, 2018)

That's going to depend on the material involved. Is following a chord chart, and winging it the rest of the way going to cut it? Sure, if it's popish/blues-ish, or atmospherics drones. But something leaning toward classical - not so much. Pretty much genre-dependent.


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## chillbot (Aug 28, 2018)

creativeforge said:


> If I may ask a follow-up question: is music notation a deal breaker if the guitarist is not entirely there? He does have a great ear and can pick things up this way. He has the rest pretty good otherwise.



That is dependent of the situation. So I guess I can't answer definitively. I use a lot of guitar players and I never ever write out a note. Some/most of them play by ear and some make their own charts ahead of time from my tracks because they are more comfortable having charts, but either way it's all by ear. I guess if it's a weird/complicated track I might sketch out the chord progression just as chords but I never write notes. The way I normally work is I send them a MP3 ahead of the session with tempo and key in the title and that's it. Other times when I run out of time I just tell them, look it's E blues just wing it you'll be fine. Often if there is any actual notes to be played it's just doubling the bass line so I do expect them to be able to do that much by ear.

I go through a lot of guitar players. I tend to use 1 or 2 most of the time but occasionally try out new players. The only reason I ever try out new players outside of my "go-to" guys (or gals, but not the case) is because each player typically has a certain 'sound' and more specifically certain licks that they fall back on time and time again. Sometimes I need a different sound because the same licks get overused. I'm guilty of the same as a keyboard player... regardless of key there are certain licks that I will always resort to by default.

The two main things I want in a guitar player:

1) How easy is their personality at the session. How much do they adapt? Are they divas who want to show off their crazy solos or are they ok with dumbing it down and playing real simple if that's what the track needs. I want to have a good time, relax, we're making music, it's fun. I don't want to dread the session because I know it will be a pain.

2) How much do we have to clean up the audio after? Notes aside, some play more in the pocket than others. Players that can nail it in one take, or max of two, and play relatively in rhythm, make it worth it. Saves me hours afterwards, for which I'm willing to pay them more.

As far as your original post goes, I'm not a guitar player so I am not hip to amps and cabinets and pickups and whatnot. That's something that would be very helpful for the player to be able to discuss with someone who doesn't know what a humbucker is. My guitar players usually always offer to bring over either their own pedal board, or a laptop with VST effects to use. And I appreciate it because I don't always know how to dial in the sound I want. BUT... almost 100% of the time I end up recording them dry so that I can mess around with the sound later using my own VSTs as needed.

Hope that helps some.


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## creativeforge (Aug 29, 2018)

Doug, chillbot, that was massively helpful!! Many thanks, I'll send him the link to this discussion. I truly appreciate you taking the time to share real-life examples. 

So yes, he is "there" and has a good selection of guitars, and can wing it good. He has band experience, but is now raising kids do he got focused on that, but has never stopped creating. 

I keep encouraging him he should explore the scoring industry, he is a great instrumentalist, so this will give him an introduction from experienced producers and composers. 

I asked him to put together a few short pieces that feature his ability to play various genres and moods. Would it be proper to share these with you guys privately for further comments? Let me know.

Cheers,

Andre


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## premjj (Aug 29, 2018)

You may want to check out Tim Pierce's You Tube channel. He is one of the best sessions player out there. His videos are full of tips & insights and there's tons you can pick up just by observing him.

I'll try to dig out a few of his videos that might help your friend prepare for his interviews. 

But there's a lot of good content there in case your friend has the time to browse through.


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## creativeforge (Aug 29, 2018)

premjj said:


> You may want to check out Tim Pierce's You Tube channel. He is one of the best sessions player out there. His videos are full of tips & insights and there's tons you can pick up just by observing him.
> I'll try to dig out a few of his videos that might help your friend prepare for his interviews.
> But there's a lot of good content there in case your friend has the time to browse through.



Wow, there's a TON on there, so yes if you can identify a few you know would benefit him at this point related to the industry? 

Many thanks!


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## creativeforge (Aug 29, 2018)

douggibson said:


> Sure, feel free to reach out anytime. Either via the forum, or you can email/PM directly. Happy to offer any feedback that may be of use.
> Doug



Thanks Doug, very kind of you. I'll make sure to mention that to him. This goes beyond what I had hoped. 

Cheers, Andre


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## creativeforge (Aug 29, 2018)

Here is a piece he did (Darin), he plays everything on this I believe...



There's a cinematographic vibe to it I think. Needs to be tightened up probably, but there is energy and direction we can follow I think.


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## wst3 (Aug 30, 2018)

Speaking as a guitar player that tried his hand at remote session work...

I've learned that some folks will be able to figure out if you will fit the project based on intuition alone, the flip side being that some folks paralyze themselves trying to figure it out. Have you friend make up a short demo reel that shows off his best "stuff", but don't over-think it because those that get it will get it, and those that don't won't.

If I were evaluating a player I'd want to hear projects that they worked on, but if you are just starting out you will need a demo reel. The best way to demonstrate your prowess as a session player is a segment of the track without you, and then with.

It is very important, I think, to let the potential player know how you prefer to work. I prefer a basic chart, but my most successful collaboration came from a project where I was given almost no instructions. (I added a little e-Bow part - never even discussed - which the composer just loved.) Meaning I have no idea!!

I like to have a general idea about what the composer hears in his head. I've worked from charts, I've worked from mock-ups, and I've worked from scratch. He needs to be flexible!

Assuming he gets work remind him to make sure he can add these projects to his demo reel. One of my regrets is that I can't use some of my older projects on a demo reel.

An accurate, and up-to-date equipment list is important. Nuff said.

Switching hats for a moment, I've only ever hired players a few times, and they were local, so it was somewhat easier. 

I look for a good work ethic first, and solid chops. Word of mouth or direct experience always helped here. Your friend will need to develop a good reputation, and that just takes time.

I do expect some proficiency reading charts. Your friend should be as clear as possible on this count.

And I expect good chemistry, for lack of a better word. If we don't get along it just won't be fun. That applies to both sides I think.

I'm not sure how helpful that is...


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## gsilbers (Aug 30, 2018)

tell them to play a F flat minor scale and see how they react =-) lol


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## Mr Mindcrime (Aug 30, 2018)

premjj said:


> Tim Pierce's You Tube channel


Oh my freaking gosh......I've never heard of Tim Pierce, but that dude is a smoking guitar player!!!! I'll spend lots of time on his channel


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## creativeforge (Aug 30, 2018)

wst3 said:


> If I were evaluating a player I'd want to hear projects that they worked on, but if you are just starting out you will need a demo reel. The best way to demonstrate your prowess as a session player is a segment of the track without you, and then with.
> 
> It is very important, I think, to let the potential player know how you prefer to work. I prefer a basic chart, but my most successful collaboration came from a project where I was given almost no instructions. (I added a little e-Bow part - never even discussed - which the composer just loved.) Meaning I have no idea!!
> 
> ...



Thanks! More great tips to pass along.


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## NoamL (Aug 30, 2018)

I worked on a TV show where I prepped charts for the composer. We would always send a chart to the guitarist together with MIDI, click, a ref mix and a minus mix. We *never* used tabs. It was always a lead sheet or rhythmic slash notation prepped out of LogicX or (when we had time to make it pretty) Finale.

IMO the number one skill is the ability to "Get" what the music is about and turn in a sound, vibe and performance that matches the genre and the musical idea. On different episodes you could have bossa nova to ska to classical Flamenco to early 90s hip hop and the session musicians always knocked it out of the park. Being a chameleon is important - just like for composers (the composer I worked for is a genius at nailing genre sounds very quickly) - I guess for guitarists it also involves having a lot of gear, or a profiling amp.

As far as I know the composer never had to go back to the guitarist and say "Actually for this kind of music we need more distortion" or anything like that. Nailing the sound on the first take is probably why he was the go-to session player. The music was rarely actually difficult (as far as I could tell). The session players were brought in to sweeten because it was easy and they added live energy. Turnaround times were almost always 24 hours btw.


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## AlexRuger (Aug 30, 2018)

I'm just gonna be totally shameless here and let everyone know that I love doing guitar (or bass) sessions. That was my original career plan before I got into composing! I don't do sessions often but when I do it's a blast. Would love to do more if anyone here needs someone.

Reading is definitely important...you never know what you're going to get. On one session I was given a double staff piano part and had to read a finger-picking line on it. On another I had to read tenor clef. I honestly don't see how you could survive playing sessions if you can't read -- though, I guess Pino Palladino has pulled it off.


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## fixxer49 (Sep 14, 2018)

AlexRuger said:


> Pino Palladino


+1. a beast


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