Recording session ... has this happened to you?

Jim Hinton · From: Phoenix, Arizona, USA

I am always a bit flattered to be asked to play on someone's recording session. I'm certainly no star, but when it comes to some decent fills, I can do okay.

I got to the studio last night, and only the bass player from band that recorded the CD was present. He had no idea of minor chords or 7th chord changes, because he only plays the root notes of the chords.

No one had charted the song, I had never heard the recording before, and, of course, had no idea what the producer would want.

I am thankful to God almighty, and Jeff Newman that he taught me how to chart a song 25 years ago, and I actually had a plan of attack.

I got the song charted and practiced it about 5-6 times. It had about a dozen cord changes, but was able to lay down acceptable tracks in only a couple of takes.

I was a nervous wreck, but was proud and pleased that I came off professional in spite of a minimal amount help from anyone in the studio.

I miss Jeff Newman so badly ... I know he was there in spirit, and his teaching got me through a very amusing and stressful night.

Any of you guys ever been asked to "sound great" with no help from the band? Sure you have! We all have! Man, I was a nervous wreck when it was over.

How did you deal with it?

Jody Sanders · From: Magnolia,Texas, R.I.P.

Hi Jim. I do about the same thing you did. I ask for a few minutes to chart the song, say a little prayer, and start the tape. Jody. PS Jeff Newman's approach to playing in any venue is invaluable.

Larry Strawn · From: Golden Valley, Arizona, R.I.P.

Never had it happen in a studio, never done a session, but I've been in the same thing working with our local bands here in town, first thing they want to do is something only the singer thinks he knows,[something I've never heard]. Only plan of attack I've got is to lay back and TRY to chart it in my head. When it comes time for a ride and they look at me, [expecting] I'm not BASHFULL, I'll give um something!!! only one of Jeff's courses I had was his C6th workshop, but I quess it's basicly the same, Just gotta run what ya brung!
Larry

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Emmons S/D-10, 3/4, Sessions 400 Ltd. Home Grown E/F Rack
"ROCKIN COUNTRY"

[This message was edited by Larry Strawn on 23 February 2005 at 09:35 PM.]

Billy Joe Bailey · From: Jackson, Mississippi, USA

I will always hear the words that great teacher of Steelguitar Jeff Newman say
"There are Steelguitarplayers-and there are those who own Steelguitars;" Wow has that stuck in my head. Well I've been crazy enough to have traded I supose about 3 times
But I just never could get enough.
I would like to say Jeff Newman, has the best that could be offered in teaching courses material tapes, vidios,you name it all for steelguitar I do'nt know who ever will quilfy to take that spot?????????????
May God Bless BJ

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[This message was edited by Billy Joe Bailey on 23 February 2005 at 09:55 PM.]

Jim Hinton · From: Phoenix, Arizona, USA

I took Jeff's schools several times many years ago. I always remember that every class he always took us to a studio to record something.

It didn't matter how simple a song was, when you have to play something in a studio, it's always stressful.

Even playing live, new, material, Jeff's approach will work very well ... if you don't panic!

May he rest in peace.

Tom Stolaski · From: Huntsville, AL, USA

A couple of years ago, a three piece rockabilly group gave me an original tune to learn. There were drums, upright bass and lead guitar - no chords at all. I tried to figure out what chords to play by listening to the bass and single notes from the guitar.
When I got to the gig I found out that the chords I picked out did not fit the tune. The band did not know what chords to use. I came to the conclusion that the band did not know what they were doing musically. It was a very frustrating experience. I ended up quiting, but not for that reason. Every time someone would take a solo, the bass player would speed up. It got to be so bad, I had to leave

Perry Hansen · From: Bismarck, N.D.

I'm not too good and charts, but I also thank Jeff Newman for "Hear What You Play and Play What You Hear.

Bob Carlucci · From: Candor, New York, USA

JIM...The studio session you described is an exact description of 75% of the recording sessions I have done.. No charts,not even chords.. nothing.. Ya just gotta listen hard and sweeten it up as best ya' can. Pretty Frustrating... However, I'll bet you sounded great!... I wouldn't worry about it. We have ALL been there!! bob

Jim Hinton · From: Phoenix, Arizona, USA

Bob ... you mean it's like this all the time? I had no idea it was that bad. 75% is a stunning number!

I always remember another point: it's all about making the vocals sound good. I feel very bad for the guys that are asked to play something appropriate, and have no idea what the song is supposed to sound like.

Thanks for the great comments.

How do the "big boys" do it? Do you guys just hear the song in your head and your fingers just "take over"?

Bill Hatcher · From: Atlanta Ga. USA

Why do you think the big wigs call Franklin and those guys in Nashville for sessions. When nobody in charge has a clue--they do.

Jim Cohen · From: Philadelphia, PA

I think it's pretty typical that one of the band members charts out the song in the studio and hands copies to the band, who are seeing and hearing it (from the demo) for the first time. Only difference from your story is that one doesn't usually get to practice it 5 or 6 times before doing a take.

Jim Hinton · From: Phoenix, Arizona, USA

Yes sir, Bill ... I do believe you are exactly right!

Kevin Post · From: Nashville, TN, USA

just play for the song....

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Chuck Cusimano · From: Weatherford, Texas, USA

I was asked to play Guitar on a couple of sides in a studio a couple of years ago, and while listening to the rythem tracks, the pre recorded bass was playing two different things in the chorus. The first time he was hitting a 5, and in the same spot in the second chorus, (exact lyrics)he was going to a 2 minor. I asked the studio engineer which note was the right one, and he said he didn't know. The bass player was long gone. The man who wrote the tunes was not there, and no one other than myself, and the engineer was there either.

I was getting paid to play a couple of fills, and a lead ride, on the one song, and the entro, all fills, and a lead ride, and outro on the second song. I wrote a chart for myself, and was almost finished with the second song when in walks the guy paying for the session. I told him either I had to play a 5 both times, or a 2 minor both times, and he would have to get the Bass player to fix his part, or it wasn't going to sound good.

I showed him the chart I had written, and he didn't know what it was. I had him listen to the tracks, and pointed out the problem, (The discrepency between the 5 and the 2min) and he couldn't hear the difference, so I played a five the first time and a two minor the second time, he wrote me a check, and I went home. I guess he was happy, because they used me for most of the album. (He sent me a copy when it came out, and I NEVER play it for anyone, but I did spend the money)

Al Marcus · From: Cedar Springs,MI USA (deceased)

As Jim Cohen says it happens a lot. I went into a session in San Francisco,with a Calypso Singer , all his original tunes. There was piano, bass and drums. No charts. So we re-scheduled for the next day. I took his tape home and wrote out the charts for all 8 songs.
I had a hunch so put the Nashville number system over all the chords. Sure enough the next day I passed them out , the guy samg, and said he wanted to change the key. Good thing I had the numbers on there. We made it, the piano man was grateful....al

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My Website..... www.cmedic.net/~almarcus/

Jim Hinton · From: Phoenix, Arizona, USA

Chuck, thanks for the great story. I guess if the guy paying you couldn't tell the difference, you could do it either way and not be wrong, eh?

Al, as always your comments mean a lot. Thanks for your input.

Jim

Dan Tyack · From: Olympia, WA USA

There are charts available for about half or a little more of the sessions I play. I rarely look at them because:

1) They are wrong more times than not.
2) My ear is much better than my chart reading ability. It is really, really rare that I have had to look at a chart to figure out a chord.

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www.tyack.com

Jack Dougherty · From: Spring Hill, Florida, USA

Boys...

That's what makes pickin' fun.....Sometimes it's good to go to the edge and look over....Never know what you'll see but sometimes the fall is fun.....

JD

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There is no such thing as too many steels!! Zum D10 8/5
Electronics.. constant state of flux

Mark van Allen · From: Watkinsville, Ga. USA

Full band sessions a la Nashville are big fun, but rare around here. On an overdub session, I prefer being the last or near to last instrument tracked for reasons of intonation and fitting into the track and instrumentation. Sometimes that doesn't work out- once while tracking other tunes on a session the producer decided to add me to a track that had just vocals and a click! Since the producer was also the bassist on the sessions, I charted out what I thought I heard and ran it by him- he said it looked about right so I went with it. Amazingly it sounded fine when finished. Years ago I was tracking for a record that was going to have a full orchestra added later- I really had no idea how to stay out of the way of something like that, and the producer told me to just play like I was the only instrument on the track. When he sent me the record, he had scored the orchestra around what I had played with the steel taking the place of the violin section! Some of the really interesting charts show up on Keyboardist produced sessions- polychords everywhere! I rarely feel I'm playing my best when I'm glued to a chart, I'm feeling the track better when I've committed most of it to memory, so I try to listen more than read. A complex tune that needs to go down in just a couple of takes makes a chart necessary though. I've often run into the scenario Chuck describes, although I wouldn't say it's very politic to point out to the band/producer that they're "wrong"- I ask which is the "correct" change, and if they don't know, I assume they meant it the way they played it! There are quite a few songs that don't follow the same exact patterns in every similar section. Best to play with the tracks that are already down- if there's a question that they might redo an errant bass part, I might try for a line or diad that will fit with either chord in question. These days my worst session fear is that they'll assemble a part from several "virtual tracks" that's an obviously impossible or frankensteined construction- but there's not much we can do about that. When I know there's going to be that kind of editing, I try to leave reasonable holes so continuity won't be a problem. I did a session for Cartoon Network for the Josie and the Pussycats cartoon where I was tuning up along to the track when I first got there. Told them I was ready to go, and they said, "we've got all we need"... They'd been recording since I plugged in. I was very sceptical but when they sent me the video cassette, it sounded just fine. The producer's always right...

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Stop by the Steel Store at: www.markvanallen.com

Pete Finney · From: Nashville Tn.

Certainly using your ears is a big part of it, but it's not that uncommon in Nashville (especially on demo sessions) to be handed a chart and be expected to play the tune without ever hearing it first. In those cases "good ears" alone aren't enough.

And I'm pretty sure on most of sessions that Paul Franklin is on that the others there know what they're doing too!

Dan Tyack · From: Olympia, WA USA

Pete, you are absolutely right about doing demo work or any other session where you are cutting with the band. Having good chart reading skills is invaluable there, that's for sure. Most of the sessions I do are either overdubs or doing masters where there is some sort of demo that we listen to before cutting. Fortunately for me, because I suck at reading charts cold.

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www.tyack.com

Jim Hinton · From: Phoenix, Arizona, USA

I can see from the members that have responsed, that some very distinguished players have posted.

I was wondering if any additional "trade secrets, or words of wisdom" could be added to help other players learn from your experience?

I am very pleased to hear what you have to say.

John Steele · From: Renfrew, Ontario, Canada

If it's not a full band session, but rather an overdub situation, I usually request to be brought in near the end. The reason being, it's easier to sync in tuning-wise without worrying about the effects of future tracks disagreeing with you.
Case in point - Last year I did a session, and as soon as I was done, they brought in a rhythm guitar guy to lay down his track. Suddenly the steel which had sounded great before sounded all out of tune. I politely asked the guy to double check his tuning, and sure enough, he was about 3 cents sharp across the board. Three cents might not sound like much, but it was the Grand Canyon that day!
Why someone else's tuning troubles can make the steel sound out, I have no idea. But it happens.
-John

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www.ottawajazz.com

Rick McDuffie · From: Benson, North Carolina, USA

What John says is right. I've been working on my own CD for awhile (when I have opportunity). The upright bassist got a bit out of position on a tune, but the net result was that it made the GUITAR parts sound out of tune. I told the engineer to go ahead and record the guitar parts (I had checked them with a digital tuner), and that I'd fix the bass part later. He was doubtful, but did as I asked. It sounded awful, but when I went back and recut the bass part (did it myself, on a Fender fretless jazz), everything was just fine. It's probably the best track I've got now.

Jim Hinton · From: Phoenix, Arizona, USA

Nice "save" Rick!

Geez, it gets really bad when a guy can get through his entire recorded part, and no one noticed that he was out of tune.

I usually have people yell at me if I miss intonation on a couple of notes. I find that if I'm nervous from not knowing my part yet, I tend to mess up a note or two. I have rarely gotten away with anything.

Have you ever been asked to play out of tune to compensate for someone else's mistake?

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