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Why Playing In The Studio Is Different From Playing Live – Audio Premium

Bobby Owsinski on Aug 25th 2009 with 0 comments
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In this week’s Audio Premium content, Bobby Owsinski explores the difference between playing music live and in a studio.

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My new book, “The Studio Musician’s Handbook” (written with top Los Angeles studio bassist Paul ILL) is about to be released and I thought it would be a good time for an exclusive preview.

The book features a previously unseen look inside the world of the studio musician and covers all the things that you need to know if you have aspirations to be one, like how much money you can make, what kind of chops you need, how you get gigs, and the many ways to become one in the first place. Even if you never intend to make a living as a studio musician, but you still play in the studio a lot (even if it’s your own), the book contains a number of pointers that you can use at every session, like equipment tips, session etiquette, and a player’s guide for every instrument.

So here’s a bit from Chapter 2 that illustrates the differences between playing live and playing in the studio, followed by the “Standard Session Procedure” used by virtually all studio musicians.

Table of Contents

  1. 16 Ways Playing in the Studio Differs From Playing Live
  2. 1. Repertoire
  3. 2. Scrutiny
  4. 3. Equipment
  5. 4. Leadership
  6. 5. Nuance
  7. 6. The Live “Feel” versus the Studio “Feel”
  8. 7. Etiquette
  9. 8. It’s hard work
  10. 9. Preparation
  11. 10. Approach
  12. 11. Pace
  13. 12. Creation versus Interpretation
  14. 13. The Required Skill Set
  15. 14. Artist vs. Entertainer
  16. 15. Venue Variables and Studio Situations
  17. 16. The Live Wolf Pack and the Studio Lone Wolf
  18. Standard Session Procedure

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By Bobby Owsinski

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A long-time veteran of the music industry, Bobby Owsinski has produced and composed for records, motion pictures and television shows along the way. Currently a principle in the content creator 2B Media, Bobby has also penned hundreds of articles for many popular industry trade publications and has authored several books that are now staples in recording programs in colleges around the world including “The Mixing Engineer’s Handbook”, “The Recording Engineer’s Handbook”, “The Audio Mastering Handbook”, “The Drum Recording Handbook”, “How To Make Your Band Sound Great,” and “The Studio Musician’s Handbook.”  

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