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Sessionwire Releases Collaborative Social Media Music Platform
A truly live online collaboration tool for creators to connect music creators across the world: Live Audio Connections. Easily. Anywhere.
January 23, 2019 – Winter NAMM Booth 1840, Hall E – Sessionwire Communication Inc. is proud to release their updated online collaborative creation, social media and sharing platform for musicians, songwriters and producers: www.sessionwire.com. Sessionwire is the first live online music production environment that comes with a growing community of like-minded musicians and creators, and enables musicians to work with their own macOS recording software and connect with other musicians and producers anywhere in the world. Sessionwire is now available as a subscription service and offers a 14-day trial period. A full membership subscription to Sessionwire is $15 monthly or $150 annually. After the trial, Guest members can continue enjoy the use of the software for free, however there is no outbound calling available for Guest members.
Live Audio Connections. Easily. Anywhere.
Create and record live with other music creators over the web, regardless of location. The member portal at www.sessionwire.com provides registered members with a profile and the ability to network and connect with other Sessionwire users. Once members have an account they may download the proprietary Sessionwire Studio app for MacOS and do any or ALL of the following:
- Stream live, studio-quality audio between MacOS recording apps
- Connect with other music makers using live video, voice and text chat
- Manage online session flow with studio-style talkback
- Build a personal brand with a Sessionwire Profile
- Share files directly using secure, direct, drag-and-drop file transfer
- Conduct Live, interactive songwriting sessions with others from around the globe, or produce live bands remotely
- Coach producers, or be coached by producers at another location
- Conduct talent auditions remotely
- Receive or teach vocal, guitar or other music instrument lessons in real-time
- Review/Supervise live mix sessions, compositions, writing sessions and mastering sessions
- Record or manage voice-over production, overdubs, podcasts and more
- Save money on travel expenses, time, and expensive software or hardware production from another location
“We are the first to offer a truly live collaboration tool that provides an easy to use, studio-style collaboration experience that is combined with a social networking platform for connecting with other music producers around the world. We built Sessionwire to break down barriers between music creators and to provide them with tools that lets them save time, travel, money and reconnect with one another in a truly human way.”
Robin Leboe, Sessionwire Communication Inc.’s Founder
“Sessionwire will connect the musicians of the world like nothing else before. Sessionwire looks like a dream becoming real for ‘caveman’ musicians like me, who need simplicity to connect on the recording format they are using – to finally be able to instantly connect and share music files on the internet. I’d love to eliminate sending MP3s via email to other musicians to put into their DAW and have the file changed. Only then, to get their performance sent back to me as an MP3 and have to drop it into my DAW (which is GarageBand). The fact that you keep Sessionwire LIVE is an amazing approach.” says Sessionwire user Randy Bachman, from The Guess Who, Bachman-Turner-Overdrive, Randy’s Vinyl Tap and more
Easy to use and affordable for everyone
Sessionwire’s low subscription pricing offers access to a wide spectrum of music makers. Sessionwire Guest accounts also allow session guests to connect for free!
- 14-day fully functional trial period. No credit card required!
- All Sessionwire Studio features for $15 USD / Month
- All Sessionwire Studio features with an annual discount, $150 USD per Year
- Guest memberships are free and can receive calls from subscribers!
To learn more about Sessionwire and to check out testimonials from musicians who are actively using the platform, please visit: www.sessionwire.com
To check out a live Sessionwire experience from artists Eric Parker (composer for Star Wars trailers) and Adrian Crutchfield (sax player for Lionel Richie, Prince NPG horns), please click the video below:
About Sessionwire Communications Inc:
Sessionwire is taking a fresh new approach to the challenges of web-based musical collaboration by providing a truly live, remote production environment for its members. Sessionwire combines a web app with key social networking features and a macOS app that offers live video chat and studio quality audio connections between platform members, regardless of the type of macOS recording software they use. Sessionwire provides an affordable, live collaboration experience, second only to being in the same room at the same time. For more information, please visit www.Sessionwire.com
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Photo: Self-portrait by Melissa Auf Der Maur
Melissa Auf Der Maur is a Canadian bassist who played with Tinker, Hole, and The Smashing Pumpkins. She released her own work and is a photographer with photos published in Nylon, Bust, and National Geographic. She released her ‘90s Rock Memoir “Even The Good Girls Will Cry” on 17 March 2026.
KB: Did you always want to be a singer-musician growing up?
I’ve played music my whole life. In school, I played trumpet and sang in a children’s choir, so music was always within me. My mother was the first female disc jockey on the Montreal airwaves; her record collection played a huge role in my inspiration and love of music.
KB: When did you start playing bass, and why this instrument?
When I was 19, the early 90s music explosion began to percolate in tiny clubs around the world. I was lucky to be a ticket girl at Montreal’s underground music club. In one year, I saw Hole, Sonic Youth, Smashing Pumpkins, White Zombie, and The Breeders – all had female bass players. That’s when the seed was planted. By the age of 22, I was the bass player of Hole.
KB: Which brands of basses have you used in your career, and which one are you using now?
The first bass that I learned on was a vintage Squier Precision. Hole was sponsored by Fender guitars, so I upgraded to Fender Custom Shop Precisions. That is all I play, but I have a cool vintage 8-string Greco that I use on recordings to thicken up guitar parts.
KB: What equipment do you use or have you used with your basses?
Ampeg SVT amps and cabinets, a couple of Sans-Amp pedals, and that is it.
KB: How did you become a member of Hole, and what is your fondest memory of that time?
Billy Corgan of the Smashing Pumpkins was helping scout a replacement for (RIP) Kristen Pfaff, Hole’s bass player. My band, Tinker, opened for them on the Siamese Dream tour, so Billy had seen me play and could vouch for me. Courtney trusted her talented friend, and that was it. I initially said “no thank you” due to my commitment to my photographic studies and the drama and chaos surrounding the band during the “Live Through This” album release. Courtney took it as a good sign that I said no, so convinced me to reconsider, and soon after, I accepted their invitation, in the name of helping put females in the male-dominated landscape of rock music. My fondest memory is every show we played as a mostly female band, symbolizing what a woman could do in a rock band. Every show had a purpose: get more women to play music.
KB: You are a photographer as well. What makes a great picture? Do you shoot in color or b/w?
I started shooting photographs at age 15. Initially only shot black & white and worked in the art school darkroom. In university, I took a color photography course, and shifted mostly and forever to that, because it was easier to process film on the road when I joined a rock band. I experimented with many cameras, point and shoots, manual, polaroids, medium format, and vintage finds. The trick to a good photograph is to shoot many and all the time – the magic is in the edit and selection process.
KB: Are there artists you would love to collaborate with or wish you had?
??I’ve been lucky to collaborate with some of my favorite musicians in my career. I would still love to collaborate with a new generation heavy electronic artist on an analog bass, heavy electronic drums, and synths collaboration project. Take me out of my usual zone, merging the past and future: my love of 80s dark new wave and new artists exploring that genre. It was very futuristic back then, and we are now, after all, living in the future. I am in the mood to play bass to heavy beats I want to dance to.
KB: What are your 7 favorite bass lines in music across all genres? And why these 7?
“Mountain Song” – Jane’s Addiction (love a rambling, rolling bass line – feels like the ocean waves)
“Black Top – Helmet” (was the first bass line I taught myself)
“Gold Dust Woman” – Hole from “The Crow 2” Soundtrack (it was my first bass line contribution to the band)
“Get Ready” – The Temptations (Motown just feels so good, because of the bass)
“Lucretia My Reflection” – Sisters of Mercy (makes me want to hit the dance floor and play bass simultaneously)
“Be My Druidess” – Type O Negative (full chord bass playing at its best by iconic, demonic, Peter Steele, RIP)
“Romantic Rights” – Death from Above (1979 – unique distorted overdriven tone, combined dance rhythm and melodic intelligence, all in one shot – also! Shout out to a bass & drum only band, which is awesome, and we should have more of, but the bass player needs to be a killer to fill that role.
KB: What are you currently up to?
Releasing my ‘90s Rock Memoir “EVEN THE GOOD GIRLS WILL CRY”. Visceral healing process, it was to get it out of me and write it, but I suspect the real magic will begin by putting it into the world and reflecting with others on what the magic of the ‘90s was all about. Powerful music decade that carried us into what is now a brave new world of digital corporate weirdness – may the past shed a light on our future. That’s my hope for this book release and tour.
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