Tim Scott - Sessions

Session Guitarist Tim Scott's C.V.
How to Become a Session Guitarist
Session Tip's, Tricks, and Tales of the Misguided

Introduction

Tim is the consummate professional both live and in the studio and with the wealth of over 18 years experience in the music industry, he is now very much a first call ‘A' list session legend.

He performed his first studio session aged 18 on a network TV commercial, for the award winning music production house L.B.S.

Being cool under pressure, delivering a consistently high level of performance in a short time and with out fuss and able to accommodate his clients every whim are some of Tim's many assets.

He is more than comfortable performing live and studio sessions/collaborations in a wide variety of styles including: Pop, Rock, Dance, Indie, R&B, Funk, Pop Punk, Nu-Metal, Funky/Dirty Electro House, Blues, Techno, Jazz, Slide, Soul, Metal, etc… plus many more.

Sessions can be undertaken via email if required and recorded at Acer Studios (Tim's private studio).

The track should be supplied as an mp3 or wav file with a head count-in of two bars and the exact tempo detail so it can be easily aligned at Acer Studios.

The raw guitar or bass can then be recorded as specified and emailed back in mp3 or WAV format or alternatively returned by post on CD, DAT, or high resolution Tascam DV-RA1000 24bit 192khz format DVD with the original header count so it can be quickly aligned and dropped into the main mix with ease.

Tim is a member of the Musicians Union, an artist member of The Performing Rights Society (PRS) and Mechanical - Copyright Protection Society (MCPS).

Any licensing enquiries about Tim's solo compositions or collaborations should be made directly to MCPS.

For more information on bookings, prices and the Tim's current availability please get in touch via email or the phone numbers on the contact page.
 
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Session Guitarist Tim Scott's C.V. 

Tim's latest session accolade is his second collaboration with Judge Jules due out early next year. The track entitled ‘City Rockers' has already moved dance floors in Ibiza, and across the world this summer.

The original track that formed the basis for this collaboration entitled ‘Ibiza's Secret Garden' will feature on Tim's fourth coming album ‘Guitar Mashing' sharing the same funky acoustic melody.

Shortly after the release of Tim's Extraordinary Debut Album 'Bald On The Inside' a journalist who had been in contact with Tim mentioned his awesome guitar talent to the legendary Radio 1 DJ Judge Jules during interview.

As luck would have it he happened to be looking for a session guitar player to collaborate with in writing a guitar track with a distinctly Spanish flavour for his new album and so was soon in contact to book the session.

The Resulting track is a dark and powerful, bangin' Techno - Flamenco cross entitled 'Puesta del sol' recorded for Jules album 'Proven Worldwide' (Maelstrom Records). This track contributed greatly to Tim being dubbed ‘Session Guitarist to the Stars' within the industry.

Other recent collaborations include the track 'Mercury' with DJ/producer Mike Koglin for his album 'VS' (Noys Records).

Mike Koglin's sleeve notes from his album 'VS' about the track 'Mercury':

"Mercury features the unique talents of guitarist Tim Scott. I met Tim in Ibiza last summer where I saw him in action playing guitar alongside Judge Jules in the DJ booth at Eden. We decided to get together in my studio in London once we got back, and the result is this chunky, driving and somewhat Balearic track..."

Funky House sessions include work for DJ/producers Herd & Fitz (Subliminal Records) and the bass line on $erial Diva's dub remix for the single version of the house classic 'The Grace Of God' by 'The One Hit Wonders' (Gusto Records).

TV themes that have featured Tim's exceptional guitar talent include work for: Granada TV, Channel 4, Carlton Select and Sky Sports, plus incidental Film Music for Sky One.

TV Commercial credits include: British Gas, The Phone People, Holland & Barrett, JJB Sports, First Choice Holidays, Carnnels, The Sofa Company, The Yorkshire Post... plus many more TV and radio Jingles.


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How to Become a Session Guitarist 

The old adage it's all about who you know is very true, so before you even play a note, make the most of any possible contacts you may have as if you're somebody's mate you are far more likely to get the work.

Take any possible opportunity to meet people who might be able to give you work. Always have a business card handy as you never know when you might meet someone who is useful.

Be as diverse as possible. You don't have to be perfect in every musical style but if you understand the essence of many styles then you can usually give the flavour of what they are looking for and this will generally suffice.

If a particular session is very specialist then they are going to use some one who is specialist in that field, so don't worry about knowing every detail of every style.

Make sure you have a great sound that is easy to record with out any fuss.

You don't want to turn up and expect them to mike an amp. Use a small DI (Direct inject balanced XLR feed) rig that requires one balanced input on the desk and setting the level so that you can just plug in and play.

I even use a little BBE optical compressor to limit any peaks as you don't want to leave any clipped notes for them to find later, just in case the client dosen't limit the signal as it goes down.

Your far more likely to get a session which is a sound-alike of a current hit rather than being asked to play like Steve Vai so make sure your well versed with the current big tunes weather it's Pop, Rock, Dance, Indie, Drum & Bass, or R&B.

This is a superior preparation than knowing all the modes of the Hungarian Minor Scale although they do sound cool and are fun to play but don't generally feature in commercial sessions.


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Session Tip's, Tricks, and Tales of the Misguided

Turn up on time or better still a little early so as to sort any potential problems that may arise.

I once arrived to open my guitar case to a broken string. I'd replaced the strings that morning before I set off but things don't always run smoothly, so being early gave me time to sort it before the session was due to commence.

Try to find out what sort of style is required before you go as turning up with a Flying V and a Shred Master stomp box. If it's a session for an Acoustic Ballard it's a bit of a mistake to say the least.

Chat through on the phone before hand if possible to find out what they require. If they are in two minds take a couple of guitars even if the Flying V stays in the case it's an option if they want it.

Remember that they are paying you so do as you are told as the customer is always right, but in the rare case where they may be slightly misguided gently suggest other avenues with a reasoned explanation to back up your theory for them to try as an option if they so wish.

Don't have a muso wobblier and throw your Flying V through the control room window like Fatima Whitbread's Javelin!

Always have spares and appropriate tools to repair things like broken strings and make simple adjustments to the set up of your instrument. Make sure you have plenty of spare batteries for anything in your set up that requires them.

Make sure everything you use is serviced regularly and in good working order before you leave home.

Don't turn up still drunk from the Beaujolais Nuevo party the night before, or still high from a Rock & Roll cocaine binge having not been to bed for the last three days! Skinning up a joint before you even plug in and asking who wants next on, is not the best plan. Neither is cracking the can of Carlsberg Special Brew from your bag at 9:25 in the morning.

Just be quiet and polite if you're asked your opinion on anything, keep it to yourself. Always be positive don't slag anyone off as the singer that you're saying is a waster is sat in reception waiting to do their bit when you leave, permanently!

Try to sort out the money before hand, as to how much and when you will be paid, so take your invoice with you. Getting paid there and then is far better than a royalty cut in something that more than likely will never see the light of day. If they pay you it's already got value so why not ask for some royalty points as well.
 

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