Need a professionally played&recorded saxophone part? Want to bring some fresh ideas and saxophone magic to your track? Feel free to contact me!
Classy alto saxophone solos, melodic parts, riffs or hooks ready for use in your mix!
I can read your score or improvise/compose my own lines from scratch, developing your ideas/concept.
Due to recording engineering skills you get professionally edited, clean and normalized stem(s) ready to be dropped into your project!
- Instrument: Yanagisawa A-WO10 Elite alto saxophone + Vandoren mouthpieces and reeds.
- Soundproofing and Acoustic Treatment: professionally designed, acoustically treated and fully soundproofed isolation booth.
- Main recording setup: ElectroVoice Re20 microphone, Audient id14 audio interface, Pro Tools.
- Main monitoring system: Tannoy Precision 8P + NevaAudio amplifier, AKG 240 headphones.
Bio and Skills:
Gdaliy has played the saxophone for over 20 years and won several local and international competitions. He gained a university degree in music recording production in 2007. Gdaliy has huge experience in both live and studio work. As a session musician, he took part in many international projects and has worldwide clients from the USA, the UK, Germany, Norway, Spain, China, Turkey, India, New Zealand and other countries.
Languages of communication: Russian (native), English, Spanish.
Tell me about your project and how I can help, through the 'Contact' button above.
27 Reviews - 5 Repeat ClientsEndorse Gdaliy
My man did his thing i highly recommend him he is phenomenal at what he does my hip hop song i produced went up 1000 percent with his sax
Awesome playing always a pleasure
This man does amazing work. He turned my cheesy sounding midi sax part into something real and professional.
Excellent!! Highly recommended sax player!
Allways a pleasure to work with and allways great results :-)
Great quality, fast and reliable !
Very fast response and great playing, just like last time! :-)
Excellent performer! Exactly to task with no instruction beyond my initial request
Gdaliy was a pleasure to work with. He was prompt with his work and very good with communicating what was needed, as well as adding suggestions. I highly recommend his services!
Fantastic soulful playing,professional sound quality and fast turnaround
You class player and easy to work with. Looking forward to working together again.
My guy is killer! Sent me some absolutely incredible solos! Always a pleasure to work with!
Professional, incredibly talented and skilled and sympathetic. Was a big pleasure to work together and much fun :) Gdaliy was able to do exactly what I imagined and go even further and make it better. Any time again, huge pleasure. Recommending everyone from any genre :) !
Really amazing work, cheers
Fantastic playing, fast turnaround... well reccomended,have used now on several projects with perfect results everytime
The parts he provided me with exceeded my expectations! I will be working with Gdaily whenever I need some saxophone! He is incredibly talented and has been a joy working with!
Very professional. The track adds colours to the mix! :)
Gdaliy is a great musician and easy to communicate with. He will to understand you and clarify anything to make sure he delivers your needs.
It was pleasure to work with him, and hope to work again in the future.
The cooperation with Gdaliy was very easy and professional. He have awesome saxophone skills! I love his work!
Fast, intelligent, very talented guy. Recommended!
Fast delivery, quality saxophonist, extremely friendly - all things to describe Gdaliy. He was happy to make some adjustments and got them to me in a timely fashion. I would recommend him highly.
Great job. I am very impressed.
Gdaliy is a very good and highly skilled musician. He is flexible and professional, and the tone of his playing is beautiful. I will highly recommend him!
Professional, diligent and talented.
I will not hesitate to work with him again should the occasion arise in the future.
Thanks for your nice job, Gdaliy.
Absolutely owned the part I asked him to do. If there could be 6 stars I'd give him that. Looking forward to working with him in the future
I got to know Gdaliy in one collaborative project where we both were hired as session musicians. When I needed a sax line for my own song, Gdaliy was the first guy I thought about. We sent him MIDI sax along with transcribed notes and he found a great balance between staying true to all the expressions of the original mock-up and making it sound alive and passionate. The turnaround was fantastic!
Great playing feel and understanding of what needs to be done,well reccomended want the job done first time ? hire this guy.......
Interview with Gdaliy
Q: What do you like most about your job?
A: I like when my creative input, my ideas, my saxophone sound make the good arrangement/production really shine and touch the soul.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Make sure that you've got the clear Vision of what you want to have recorded for you. Answer yourself to these questions: - Are you sure you need the saxophone, not other instrument(s) for your song? - In what sections of your song you have the saxophone in mind? - What kind of parts you want the session player to record for you and how should they relate to the whole arrangement? Solo(s)? Counter-melodies or unisons? Catchy riffs/hooks? A single part or ensemble parts (horn arrangement)? - What type of saxophone you really need: alto, tenor, soprano or baritone? Make sure the provider (saxophone player) you want to hire has/plays the type you have in mind for your track! The common mistake is to hire an alto saxophone player and ask him to play the part in the tenor range (with notes lower than concert Db3). The highest note in the normal alto sax range is concert Ab5-A5 and all the notes higher than that refer to so-called "altissimo range". In fact, these notes are played as overtones extending the normal range. It used to be considered as a kind of special effect, but now it's very widely used among contemporary advanced saxophone players. Though they can sound really cool within certain contexts, it would be a mistake to try to make the alto saxophone player perform the soprano saxophone part. You will never get the same thickness, smoothness and control over tone, pitch, vibrato etc. for those highest notes. - Can you give some examples of the recordings where the saxophone sounds similar/close to what you have in mind for your track? - Do you have any certain ideas about the saxophone part which you could write in a score or record as an audio demo/guide track? - Do you know what you would like to be played on the saxophone in each of the section/subsection of your song (long tones, fast passages, in lower or higher range etc.) and how it should be played (smoothly or with power&edge, with "growl"/"distortion", with what articulation etc.)? Then your goal is to find the provider fulfilling your needs. Listen carefully to the demos of the candidate. Do you like his/her sound? Does his/her playing touch you? Does the saxophone player have any examples where he/she plays in the style you have in mind for your track? It doesn't need to be exactly the same style/genre of music, but this is more about the manner of playing, the whole musical pallete, technical abilities etc. Does the session musician have professional equipment (instrument, recording setup and acoustic treatment)? And, of course there are some common things which should be checked for all the potential providers: a number of positive reviews, availability within your deadlines, pricing policy, style of communication etc.
Q: What questions do customers most commonly ask you? What's your answer?
A: - Can you record and send me 2, 3, 4 (etc.) takes [at once, from scratch] so that I have some options to choose from? - When working in a "real" studio situation, the approach of recording multiple takes is absolutely natural, logical and almost inevitable. There are two main reasons for this. The first one is technical. Even if the part is 100% pre-composed and the whole concept of its performance is clear, the one take recording session is an extremely rare thing, because even the best of musicians are human beings. And to obtain the best possible result a number of takes are needed. The second one is creative. The "live" studio workflow is an exchange of ideas in real time between the Client (artist/composer/producer/recordist) and the Provider (session player) about the performance/interpretation/improvisation/real-time arranging or composing. The session musician is focused on his playing and his job is to do his best and produce a number of decent takes during his studio time constantly guided/supervised by the Client which would constitute the whole "perfect" take. Not quite the same with the remote session work. The negative side of this form of collaboration is that when the Provider (session musician) has to work on his own, it may be hard to understand in the absence of the Client whether his performance or ideas correspond to what the Client has in his mind/is looking for or not. The positive side is that the performer is not restricted by hard time constraints in his home studio. He can rehearse, perform, improvise/compose/arrange and supervise himself immediately, trying this and that, polishing the ideas being recorded both technically and artistically, do all the comping/editing needed to come up with what he or she really wants to "say" as a musician. And here is neither sense nor excuse for providing a bunch of raw (and sometimes, "dirty") takes which in practice doesn't guarantee that the job will be done for several reasons: - there might not be enough good material; - the takes might clash in time with each other with one note/phrase ending in take A after the beginning of next note/phrase in take B; - the sound of takes might be so different that they won't sound as a whole performance after comping. Instead of this, a session musician can put in all his efforts trying to really nail the song and its concept and do his best to construct one "perfect take" (from his/her perspective) which would sound "real" section by section, phrase by phrase or even note by note and polish it with some editing tools afterwards if needed. If the session player himself prefers to provide a bunch of raw takes leaving all the decisions to his Client, that usually means that he is not sure about what he plays and if this really works for the music which is not professional.He might have a couple of different versions, one of them usually being his favourite anyway. But if he/she has really put in his efforts diving into the material with the help of the Client's instructions having been formed during the communication preceding the recording session, he would sort out most of rubbish ideas and all of technically weak takes him- or herself. After the turnaround is complete, the Provider sends the stems to the Client in order to receive his or her feedback and further notes and make some adjustments if needed. In a normal workflow a number of revisions is between none and 2-3. The biggest problem here is to really catch the whole Client's idea/concept in absentia. This can be relatively easy if the Client and the Provider come from the same musical background or are inspired by the same musicians or just catch the same vibe from the same stuff. Things become much trickier when this is not the case, but the clear producer's vision and ability to communicate it through all the available means (scores, audio demos, reference tracks) mostly helps. The hardest situation occurs when the Client doesn't have neither specific ideas nor the clear vision of what he/she wants and sometimes is even not sure how the saxophone should work for the song or whether this should be the saxophone or another instrument. He/she neither accepts any of Provider's versions nor proposes his own ideas. The best solution here is to determine this type of situation and cancel the gig asap. Fortunately, this doesn't happen often :-).
Q: What questions do you ask prospective clients?
A: - In what parts of the track do you hear the saxophone in mind? - What is your overall idea/concept of the saxophone part in the context of your song? - Can you give me any references, examples (e.g. as YouTube links) of the saxophone sound/performance style you are looking for? - Do you have any particular melodic ideas for the saxophone part which you can give me as a score or as an audio file (recorded with synths, samples or other instruments)?
Q: How would you describe your style?
A: Combination of expressive power and lyricism, mainstream jazz school and contemporary sound.
Q: What's your strongest skill?
A: Style flexibility, in-depth vision, ability to adjust my sound to the needs of particular song, perfectionism.
Q: What other musicians or music production professionals inspire you?
A: Though I came from mainstream jazz background as a saxophone player and I used to work for some years as a rock/pop recording engineer, I'm not addicted to any particular genre/style/type of music. I really love mainstream and contemporary jazz, old school progressive rock, classical music, world fusion stuff, old and modern R&B, soul. But I can get inspired from any music that contains bright ideas and which is made with talent, passion and professionalism, no matter whether it is rock, funk, jazz, EDM or hip-hop. Every time I start working on a new track I try to make it my main source of inspiration. Even if it doesn't belong to my "favourite" styles of music, I try to find out what I especially like about the song (melody, sound, overall groove, concept, catchy ideas, chord progressions etc.) and relate to it as if it was my own music. My main saxophone heroes are: David Sanborn and Eric Marienthal (jazz fusion, funk, r&b), Kenny G and Dave Koz (smooth jazz and pop), Steve Douglas and Clarence Clemons (rock-n-roll), Jan Garbarek (world fusion), Charlie Parker, John Coltrane, Julian Adderley, Sonny Rollins, Chris Potter (mainstream jazz), Kenny Garrett, Alex Han (contemporary jazz, fusion).