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Specialized Long Distance Lessons
The Tone Page
List of guitars, amps, and pedals for your next performance and/or recording
Current Price List
*For a direct link to the categorized price list, click here. For a direct link to the statement of intent, click here. OR scroll down to read both in this window.*
November 1, 2009
In light of increased demand and looking over business expenses (particularly within this past year), the time has come to officially state my minimum rates for each area I work within. As much as I enjoy helping others and gaining exposure, I can no longer work for less than the rates affixed to the accompanying price list.
This is for several reasons.
First, when I play without compensation it actually costs me money. At the rate which I burn through guitar strings, wear and tear on my instruments (requiring mid to upper three-figure fret jobs, saddle work, and additional adjustments every couple years on primary guitars), amp/tube life, batteries for effects pedals (Eric Johnson is not out of his mind, they do affect the tone significantly), and simply the cost of gas and car maintenance, I have recently taken a closer look and realized just how much all those free performances, rehearsals, and sessions are paid for out of my own pocket.
Second, playing without a pre-arranged price list creates opportunities for misrepresentation, miscommunication, and bargaining at the end of the rainbow. This is the antithesis of fostering mutual comfort and respect; critical cornerstones in the process of providing one’s best work (in any endeavor). This concept may be further illuminated by comparing the artistic realm to other areas of employment (sole proprietorships or not).
Surely few individuals would suppose that a doctor ought to render his services for free in the interest of attaining lucrative surgeries and procedures in the future, that a young lawyer would render services for free to get a foot in the door, or that a mechanic would fix one’s car based upon similar reasoning. Examples abound in all areas of employment outside of the artistic realm (a professional plumber surely could not afford to fix a problem in one’s house solely for the inherent joy in performing his/her occupation).
Without thoroughly expounding my personal views on this paradox (symptomatic of a deficiency in our current culture, which has by-and-large accepted the notion that artists of all kinds, but especially musicians, are expendable. Popular music has frequently perpetrated this notion since its inception, which is the nature of the business behind brilliant and dreadful careers alike. But outside of the popular music machine, thoughtless bandleaders at best (and scam artists at worst) realized that many musicians will give past the point of charity and to the point of losing focus. As musicians and artists, we live in a creative reality that is the envy of those living arguably much more stable 9-5 lives. The importance of this demographic which kindly marvels at the romantic quality of a life in music cannot be underestimated. It builds audiences, establishes rapport, and transcends barricades. However, the truth is that this creative zone does not come without some sense of responsibility and mindfulness, in both the artistic and financial sense. Throughout the course of history, some of the greatest musicians have been some of the poorest businessmen and women, easily susceptible to manipulation and accepting sub-par compensation for their life’s work), the bottom line is that quality of any kind is rare, which is true in any field, not just in medicine, law, and labor.
Quality thus dictates that musicians should be compensated according to their abilities and demand. Perhaps talent factors in as well (okay it does), but talent can be latent or fostered and this is not the forum for musings on nature vs. nurture. Few ever heard the hours, days, and years of practice leading up to Chet’s 'golden age' in his early '20s or the time Robben Ford spent practicing and leading up to his mind-boggling phrasing, tone, and note choices evident as early as the Charles Ford Band LP. These men didn’t accidently become great musicians (and financially well-off). Aspiration and healthy-discontent fueled their lifelong dedication to being musicians who play guitar instead of guitarists dabbling in music.
That sort of devotion is work, regardless of the reality that many of my own heroes accepted less than what they deserved for the work they put in. Good musicians have a tendency towards insecurity, as we all do at one time or another (and one thing I can tell you as a Hendrix scholar and appreciator since the age of twelve is that behind the fame, Jimi Hendrix was a highly insecure and vulnerable human being). If anything, this is far more endearing than a self-righteous, pompous ‘lick slinger’ who has no idea where it’s at ([and it ain’t in] ‘the ones who jump on the wagon just for a while ‘cause they know it’s in style, to get their kicks, get out of it quick and make all kinds of money and chicks’ – from Bob Dylan’s poem, entirely recited with no instrumental backup, Last Thoughts on Woody Guthrie).
But the reality is that good musicians DO work hard (just ask Richard Thompson; Beeswing was a three-year song), even if it’s not as obvious as a doctor spending eight years of intensive study in medical school.
Yes, Larry Carlton rightfully earns every cent he charges to play on someone’s project, period – his rates are astronomical compared to many others, but he’s that good and every guitar player with more than a passing interest in their craft knows it. To say one does not wish to employ his services is perfectly acceptable, but to say he isn’t worth the price is uninformed and borderline offensive (when such a claim is made to anyone who has worked hard at the craft behind their occupation).
That most of us are not as original, innovative, and spontaneous as Larry Carlton or Jeff Beck is a given, but both (personal heroes to yours truly) can teach us something more than their brilliant musicality and impeccable phrasing. That is, that humility and graciousness are key factors; and that establishing minimum requirements for lending their talents is not remotely incompatible with maintaining humility, graciousness, and being a team player. If anything, mutual respect only reinforces such admirable traits.
I can barely begin to emphasize the extent to which every one of the musical heroes I have met, studied, and sometimes been fortunate enough to call friends have shown this to be the case time and time again. How much I’ve learned from seeing the man who “half-raised me” introduce himself to janitors and people on the street with no thought that they should know him as a 19-time Grammy Award recipient who declined an offer from Mark Knopfler to join Dire Straits and sold more than 26 million records. Or the chance meeting with Steve Earle in NYC (“I lived in Nashville for a long time. I was a musician there”) when he could have quite honestly said, “I’m one of the best songwriters on the planet.” But the thing that is ubiquitous is that the greatest ones are the least self-important ones. It’s often the worst musicians who carry bravado egos around.
So as a lifetime musician with an active interest in less-than-rich and famous blues and folksingers, there’s no small amount of understanding on my part. Self-importance is a drag. It kills the creative spirit and poisons relationships. Most of us do not live in the same neighborhood as Paul McCartney; and many musicians, even those who have done exceptionally well in their careers, live on a far more fixed-budget than legendary rock stars!
This informs my rates (many well below union scale), while maintaining the need for a roof over my head. Many struggle to make ends meet while realizing their own aspirations, an admirable part of the journey and the proving ground where ‘those who don’t like the danger soon find something different to try’ (to quote the indelible Mark Knopfler).
Financial arrangements between respectable parties ultimately serve as an outward expression of appreciation; it is every bit as much (if not more so) about respect as it is a means of covering day-to-day expenses and monthly bills. That anyone in a creative endeavor must do things as a labor of love, if they’re any good, is indisputable. So we return to the lesson of modesty which so many near and distant role models instilled in me from a young age. But each has also shown me just how critical self-worth is in this line of work, where we have to take a stand for our own selves and establish what we’re willing to do as right-brained free lance musicians attempting to keep a roof over our heads as sole proprietors.
For in art, love, friendship, and rock and roll, this respect must go both ways and satisfy our basic needs of survival (to say I gave it a solid five years of providing favors and taking jobs for exposure is no misnomer. I don’t regret one single part of doing so, but the time has come to ring some changes).
Accordingly, the time has come to avoid further miscommunication by clearly outlining what makes far more sense from a business standpoint, thus ensuring the best for myself and clients alike.
Effective immediately, my minimum rates are as follows. In events of higher budgets and those who have exceeded these rates in the past, I truly appreciate the work and continue to thank each and every one (you know who you are). I cannot stress too much that 99% of those I have worked with, including friends I have given entirely free work to in the past, have shown nothing but appreciation and kindness in return. Many have even mentioned on multiple occasions how much they hoped for me to hearken this occasion long before now.
These minimum rates are compatible with those provided in more specific areas of this website, with recording rates well below union scale. Most have not changed from years past. While I appreciate opportunities to work for less, expenses and my own musical ventures dictate the need for me to devote such times to continued personal practice, private teaching, writing, beginning my forthcoming record, and booking more of my own shows.
For ease and clarity, minimum rates are listed here:
Subject to change, Nov. 1st, 2009.
Live Performances
Local Restaurant/Jazz Gigs: $50 + $10 expense of strings = $60. No Rehearsal. Maximum of three sets plus dinner.
Local Club Gigs/All other local private Gigs: $75 per two sets (set = 45 minutes of continuous playing; rates pro-rated for additional sets. Click here to hear a sample from one of my own shows
Local Rehearsals for Local Club Gigs: $20/hour, bandleader must furnish charts. Otherwise, standard charting rates (listed herein) to be paid by leader. For rehearsal rates on out-of-town shows, see below.
Out of Town Gigs: Contact directly for details. Rehearsal rates N/A in cases of higher-paying jobs and a string of dates requiring some advance band prep time. Again, contact directly for details and/or make an offer.
Writers Rounds: dependent on number of tunes, length of round, and whether or not a rehearsal is requested. Contact for specifics.
Musical Theater Gigs: $71.43 per service, or $500 per week. As a fluent reader of treble and bass clef parts, I am also available for musical theater engagements. Have provided frequent work for Vanderbilt University, in addition to work for Chaffin’s Barn, Harpeth Hall, Tennessee Performing Arts Center, and Belmont University.
Solo Guitar Wedding Reception: $60/hour (additional charges for ceremony music). Click here to hear a sample!
Party Band Wedding Reception (Seattle/Tacoma Area Only): $400 per man. Four sets plus dinner. Cost of travel and amplifier rental (or shipping) to be covered by client. Click here to hear a sample! And/or here for testimonials.
Party Band Wedding Reception (Nashville Area): $75 per set, per man (up to four sets). Click here for the 350 dB Hendrix inspired spin-off of the indelible Muddy Waters (rhythm section will be different; sample is from NW engagement).
Recording Services
E-session overdubs from home (you send me the files, I’ll import them, overdub and send the guitar tracks back to you): $50 per song + $10/guitar strings-expenses
Single Musician Overdub for Home Writer Demo, I come to studio/producer, no publishing company involved. Three hour maximum. $75
Publishing Company Song Demo/Limited Pressing Album (tracking and/or overdubs). $125/three-hour block.
Jingles and Advertising Sessions for radio/TV (Cracker Barrel ad available to stream under Music tab, or click here): $125 per three hour session.
Instructional Services
Private Guitar Instruction (Local): $50/hour (see Local Guitar Instruction page)
Specialized Long Distance Lessons: $75 minimum (see Specialized Long Distance Lessons page)
Non-Custom, Pre-Recorded Lessons from my Catalog: $50/lesson (website to be updated with catalog of available titles soon)
Workshop Rates, NSGW, and otherwise. Negotiable based on length of workshop but not less than $725 per five days of group instruction or private master-classes (not to exceed four-hours per day). Always interested in teaching workshops in any of the following areas of intensive study: The arrangements and compositions of Chet Atkins and Jerry Reed, acoustic guitar (the solo guitar of Laurence Juber, Tommy Emmanuel, et al. to the singer-songwriter styles of Richard Thompson and more), pre-war folk-blues/rural blues, Texas & Chicago Blues Guitar, Rock Guitar Approaches and History (with an emphasis on Jimi Hendrix, early Clapton, and maximizing electric guitar tone).
Charting and Intensive Custom Transcription Services
Custom Guitar Transcriptions (notes/tab/chords): $35/hour; waived for Long Distance Lessons ordered from my lesson catalog and/or students already paying for a Custom Lesson (which includes a transcription in the lesson price). Previous clients include Ray Flacke and the Stefan Grossman Guitar Workshop release "Pickin' Like Chet"
For full-length intensive sample of my work, click here (artist name removed out of respect for copyright laws. Six choruses of smoking blues guitar soloing from a Boston gig in the mid-80s.)
Handwritten Number Charts: $10/chart
Finale Chord and Number Chart: $20/song. View Sample Here. This buys you two professionally formatted PDF files created on Finale – one Nashville Number Chart (1 4 5) and one standard Chord Chart (G C D)
