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    • The History and Culture of
      Albanian traditional folk music
      • Appendix 1
        Traditional song lyrics
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        Interview with historian Fitim Caushi
      • Protocol v1.0
    • The impact of the internet and
      online technologies on
      session musicians
      • Appendix 1 – Interview with
        David Blacker, Airgigs
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        Altin Gjoni
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        Oleg Laverentev
      • Appendix 4 – Interview with
        Calum Robertson
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    • the ffusion project – albanian polyphony
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    • David Cummins
    • Thesaret Labe
  • Profiles
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  • Written work
    • The History and Culture of
      Albanian traditional folk music
      • Appendix 1
        Traditional song lyrics
      • Appendix 2
        Map of the musical dialects of Albania
      • Appendix 3
        Interview with historian Fitim Caushi
      • Protocol v1.0
    • The impact of the internet and
      online technologies on
      session musicians
      • Appendix 1 – Interview with
        David Blacker, Airgigs
      • Appendix 2 – Interview with
        Altin Gjoni
      • Appendix 3 – Interview with
        Oleg Laverentev
      • Appendix 4 – Interview with
        Calum Robertson
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Menu
  • Written work
    • The History and Culture of
      Albanian traditional folk music
      • Appendix 1
        Traditional song lyrics
      • Appendix 2
        Map of the musical dialects of Albania
      • Appendix 3
        Interview with historian Fitim Caushi
      • Protocol v1.0
    • The impact of the internet and
      online technologies on
      session musicians
      • Appendix 1 – Interview with
        David Blacker, Airgigs
      • Appendix 2 – Interview with
        Altin Gjoni
      • Appendix 3 – Interview with
        Oleg Laverentev
      • Appendix 4 – Interview with
        Calum Robertson
  • Events
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Menu
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  • Music
    • the ffusion project – albanian polyphony
    • The ffusion project – portfolio
    • David Cummins
    • Thesaret Labe
  • Profiles
  • About the ffusion project
  • About David Cummins
  • Videos
  • Written work
    • The History and Culture of
      Albanian traditional folk music
      • Appendix 1
        Traditional song lyrics
      • Appendix 2
        Map of the musical dialects of Albania
      • Appendix 3
        Interview with historian Fitim Caushi
      • Protocol v1.0
    • The impact of the internet and
      online technologies on
      session musicians
      • Appendix 1 – Interview with
        David Blacker, Airgigs
      • Appendix 2 – Interview with
        Altin Gjoni
      • Appendix 3 – Interview with
        Oleg Laverentev
      • Appendix 4 – Interview with
        Calum Robertson
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Appendix 3 – Interview with Oleg Laverentev

3.Interview with Oleg Laverntev, Russia based Saxophonist – 9/3/21

  1. When did you start out as a professional or semi-professional musician?

I started playing the saxophone in 2003 when I entered music college

 

  1. How long have you worked as a session musician? And is most of your work home studio or external studio based?

As a session musician, I started working around 2015 with various music groups from my city. At the moment, I prefer my home music studio

 

  1. Does most of your work come through Fiverr or other online platforms or is it direct? If it’s direct how do you advertise and promote your services? And which online platforms do you use?

At the moment I work with Fiverr, sometimes I record a saxophone for friends. I have several social accounts for communication and advertising, there are many videos with examples of my playing.

 

  1. Do you think online services have had a positive or negative impact on the music industry generally? In particular do you think that these platforms have impacted on how your service is valued and the price that session musicians can charge?

I think that financially the demand has decreased as I used to perform at weddings, banquets, concerts, birthdays. But I like working on the Internet, I really aspired to this, I am interested in working with different producers and musicians from all over the world. For me, there is no deterioration in my own professional level, since I work in various genres almost every day and am happy with my work.

 

  1. How has the COVID19 pandemic affected you professionally? And what changes have you made, if any, to the way you work during the pandemic? Do you think the pandemic has meant there has been more work for you and session musicians generally?

This pandemic really affected all areas of musical activity, but on my own behalf I can say that have long wanted to change my occupation and work at home, for me it is comfortable and cozy. Indeed, without the pandemic, there would have been more work, but a year before that, I was ready to work as I wanted.

 

  1. Without the ability to collaborate and work online during the COVID pandemic many session musicians, artists, producers would not have been able to create and release new music. Do you think these changes are here to stay? And what is your view on this?

You know, working from home is a great pleasure for me. There is an opportunity to think about your projects, your music, to work on the sound of your instrument. I also had more time for my affairs that lay in the box for a long time. These changes are individual, as for me, then I continue to act.

 

  1. Finally, is there anything else you would like to say about how the internet has affected your work as a session musician, or how you work?

The Internet goes well with my work, yes, at the moment I do not have much work, but I also have free time to study the principles of interaction through the network. This is the time for me to concentrate on things that are important to me.

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