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Topic: My first "real" session. Any advice? |
Dave Zirbel
From:
Sebastopol, CA USA
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Posted 19 Dec 2005 1:00 am |
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I've been a humble weekend warrior for about 15 years now with a few moments of glory here and there and I got a call yesterday for my very first pro recording session with a rock artist. Most of the recording I've done has been rushed, low budget projects that never seem to have a real good end result (IMHO). In some cases I've had to hack my way through 10 songs in three hours!
Can any of you pros shed any light on what I'm in for or what to expect? Also, any advice is greatly appreciated. This is in California and from what I understand the West Coast recording scene is different from Nashville. Maybe it's a little looser in the rock and roll circles. I don't know. It's only one tune so I'm thinking we'll get plenty of time to nail the parts, instead of rushing through it because somebody is showing up in a hour to do vocals or fiddle or whatever.
Thanks guys!
Happy Holidaze, Dave Z
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Michael Garnett
From:
Seattle, WA
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Posted 19 Dec 2005 1:15 am
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I'm not a pro by any stretch of the imagination, but I'd suggest at least:
1.) Put new strings on the guitar and get a really good tune on it.
2.) If you already know the song you're going to play, practice your part about 200 times.
3.) Arrive for the session early and give your guitar plenty of time to get used to the room, then tune again.
4.) Expect everything to be running several hours late. Just getting drum tones can sometimes take hours over the expected time.
5.) Just relax and nail your part, get paid and go home.
-MG |
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Billy Wilson
From:
El Cerrito, California, USA
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Posted 19 Dec 2005 4:45 am
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| Dave, can say what rock artist is yer woring for? |
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Chris Schlotzhauer
From:
Colleyville, Tx. USA
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Posted 19 Dec 2005 6:02 am
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Don't play any notes you don't want recorded
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Al Terhune
From:
Newcastle, WA
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Posted 19 Dec 2005 6:26 am
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Congratulations, Dave. Whomever it is you're recording for (yeah, I'd like to know, too -- why the secrecy -- are you not wanting to name-drop?), they are one lucky buck! Your playing is so confident and bold, and pretty when need be.
Have a great time.
Al |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 19 Dec 2005 7:06 am
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Congratulations on the gig.
Mike G.s comments are right on.
Next
RELAX, you will play better.
They will likely want you in and out, in around an hour,
but still arrive early (open the case ASAP to room temp the steel),
and expect it to run late.
If you have any idea how big your chord voicings will be
and how loud you will get during the tune,
tell the engineer :
here is my likely MAX volume.
He will then leave you 10-20% more, but stick to your choosen volume.
He will likely goose it up a bit if you prove consistent volume wise.
Don't be afraid to ask for the mix you REALLY need in the cans.
Remember you have to create intonation every note,
most of the other players don't need to worry about that
in the same way you MUST.
If you can't hear the steel; no chance you can PLAY the steel...
Ask questions of the artist and producer, depending on the responses, ask more.
You will likely tease out some comment about what they really want from you.
But don't push it too hard.
One last thing...
"TAPE IS CRUEL."
So relax in the face of any bad note...
The clam you can smile at,
is NOT the one that will eat you
[This message was edited by David L. Donald on 26 December 2005 at 09:26 PM.] |
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Jim Sliff
From:
Lawndale California, USA
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Posted 19 Dec 2005 7:18 am
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Play slow. Nerves will kick in, and what you *think* is slow will be right on.
If you're going in by yourself just to lay a steel track on, be striaght up with the engineer and tell him you're a "virgin" - he'll work you through the process.
Do NOT get discouraged if they have you do your part 30 times, or ask you to change things, or whatever. Recording is totally different than playing live.
Play clean, watch for pick rattles/buzzes, and go for superb sound that fits the tune rather than trying for anything flashy. Unless they *ask* for an over-the-top take, you're best bet is keeping it simple. I think it was One well-known studio player said "there's no money above the 5th fret", meaning use the KISS system - "Keep It Simple, Stupid".
Last - don't be shocked if you play one bar of fills and they do a copy-and-paste and use it in 2 or 3 places, and you're done. I had that happen once - got paid for a full session and wasn't there 20 minutes.
If you ARE there with the whole (or part of the whole) band, be polite and ask them what they'd like to hear - basic steel "sounds" or on-the-edge-of-control wildness. If they don't know, it's back to KISS.... |
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Gerald Menke
From:
Stormville NY, USA
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Posted 19 Dec 2005 7:22 am
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Congrats man, you will have a blast. I should tell you that even on the pro level sessions, frequently things are pretty rushed, I consider it a luxury if I get to hear playback often times. The great thing about the pro sessions is that the engineers always get great sounds quickly and know what they are doing. As far as advice, don't drink too much coffee, make sure your new strings are nice and stretched out, go in there with a very open mind, but most of all remember: you are there to help them make their statement, not the other way around.
I am convinced that I get work here in New York not necessarily just because I am a (slowly) becoming a half-decent player, but because I check my ego at the door, and try above all to make the client happy. |
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Dave Zirbel
From:
Sebastopol, CA USA
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Posted 19 Dec 2005 8:31 am
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It's not really a secret. It's the Red Rocker, Sammy Hagar.
That all sounds like great advice. When the producer was trying to give an example of the song being recorded, he used Elton Johns "Rocket Man" as an example.
I'm a little nervous but it's only rock and roll, and I've found in the recent past that the best stuff I've done has been the most simple and elementary playing.
Now the next question-which guitar do I bring? 
I think it's gonna be the ZB. Dialing in a good tone if effortless on that thing.
Thanks again for the support and great advice.
DZ |
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Kevin Hatton
From:
Buffalo, N.Y.
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Posted 19 Dec 2005 10:15 am
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| Dave, play the ZB man. MIne kick butt in the studio. One of the best recording guitars. |
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Bob Hoffnar
From:
Austin, Tx
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Posted 19 Dec 2005 10:23 am
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I get sessions like that every so often in NYC. They are usually easy and fun. I try not listen to the music or practice it before I go in. You can play so don't worry about it. Just go in with an open mind. If they want you to play like the steel part in Rocket Man it will be a piece of cake. Change your strings, bring an amp and steel that sound great and just do what they want. It will be way easier than any crafty thing you might try on your own.
The main thing is to get the money ! A session like that should pay you at least double scale because you are a special sort of guy. If you do the session for under $500/$600 ( The expected, normal base pay ) they will be congratulating themselves after you leave for how cheap they got the steel part done for while they order sushi for lunch.
Bob |
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David Wren
From:
Placerville, California, USA
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Posted 19 Dec 2005 10:43 am
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No advice required here Dave, just go nail it! You're a great player! Congrats, now plan on doing the tour ;-)
------------------
Dave Wren
'95Carter S12-E9/B6,7X7; Session500; Hilton Pedal
www.ameechapman.com
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 19 Dec 2005 10:54 am
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Congrats Dave. You're a great player and should have no problem. Don't let the fact that he is a big star get you nervous. Remember, he is just another guy like you. Play the ZB for sure. They record great. All of the recording I have done was on a ZB or a Kline (which also records great).
Good luck my friend and have a good time.
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Carter D10 9p/9k, NV400, Korg Triton Le88 Synth, Korg CX-3 organ, Yamaha Motif Rack Module, Regal Dobro, Tele, Gretsch Acoustic.
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Dave Zirbel
From:
Sebastopol, CA USA
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Posted 19 Dec 2005 10:57 am
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Thank you steel brothers! I just needed a little pep talk and encouragement and I knew I would get it here! The session is tomorrow afternoon so I'll be reporting soon!
DZ[This message was edited by Dave Zirbel on 19 December 2005 at 11:43 AM.] |
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John Steele
From:
Renfrew, Ontario, Canada
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Posted 19 Dec 2005 11:59 am
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Dave, if possible, try to arrange it so not too much stuff is added to the track after you've left. If it's possible to be one of the last instruments recorded, you'll be able to sync in tuning-wise with the existing track.
If other instrumental tracks are added after you've left, and those instrumentalists aren't really careful about tuning and intonation, they won't have to worry, because it'll be you that sounds out of tune !
-John
p.s. Yes, as you can probably tell, learned the Hard Way.
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www.ottawajazz.com |
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Chuck Cusimano
From:
Weatherford, Texas, USA
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Posted 19 Dec 2005 12:50 pm
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All great advice above ^, Don't let them keep anything you're not happy with. Once it's on the record, it will be there till time ends. If it don't sound right to you, and they try to convince you it's good, ask if you can try "another" one. (They got lots of tracks now a days) Play with confidence... Most importantly, just remember when you are recording on someone elses project, It's not about you.
You may be there for what you can play, but do as the producer/artist asks, and you'll be fine. Best of luck. |
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Chris Erbacher
From:
Sausalito, California, USA
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Posted 19 Dec 2005 5:07 pm
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| congratulations dave, gotta love that zb sweetness. |
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Dave Zirbel
From:
Sebastopol, CA USA
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Posted 20 Dec 2005 7:38 pm
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Well, it's seems that it went well. I let them tell when the had enough to work and were happy. The producer/engineer has great ears so I don't think he would have let anything bad get by. He says he's done a bunch of sessions with Greg Liesz when he worked in Hollywood so he should know, right?
The vibe was real relaxed, fun and positive. Some of the band members were there and all giving there input which seems cool. Sammy's not a musical dictator. He also seems like he enjoys his life.
We pieced my parts together like coming up with hook riff and doing it in all the nessecary places, the went back and did the the choruses, etc. I ended up using the far right pick up setting on the ZB through the Webb. I like the middle position better but they liked the fatter sound. Of course I wasn't gpoing to argue. I was set up by 4 and done by 5:30.
And for those who care, Sammy drives a red mini Cooper now instead of a Ferrari.
Dave Z[This message was edited by Dave Zirbel on 20 December 2005 at 07:39 PM.] [This message was edited by Dave Zirbel on 20 December 2005 at 09:35 PM.] |
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Billy Wilson
From:
El Cerrito, California, USA
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Posted 20 Dec 2005 9:22 pm
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| Dave, were they having you play on a country tune or did they want steel on a rock tune? Where did they record this? |
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Bruce Bouton
From:
Nash. Tn USA
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Posted 20 Dec 2005 9:35 pm
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Dave
Congrats! What an honor. Hopefully you were able to do this under an AFofM Recording Contract which would guarantee a great wage plus pension and a special payment check in August.
BB |
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Dave Zirbel
From:
Sebastopol, CA USA
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Posted 20 Dec 2005 9:49 pm
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Billy, it was a rock anthem/ballad. Funny though, Sammy is covering a Toby Kieth tune on his new record. I may be going back. I guess Sammy and Toby are buddies now and play music together. The sudio is in San Rafael.
Bruce, there was no contract but I thought the compenstation was more than fair. Is this kind of thing frowned upon by fulltime musicians? I don't want to be responsible for lowering the standard of conditions for musicians. Feel free to educate me. I'm still pretty green.
Dave Z |
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Craig A Davidson
From:
Wisconsin Rapids, Wisconsin USA
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Posted 21 Dec 2005 6:13 am
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| Dave if it was a union gig of which you are a member, then you also were working on your retirement. Some studios do not run union sessions, and some do. Ones that I encountered in Nashville that don't, are not to keen on letting anybody know they did those sessions. At least the players aren't. [This message was edited by Craig A Davidson on 21 December 2005 at 06:21 AM.] |
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Dave Zirbel
From:
Sebastopol, CA USA
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Posted 21 Dec 2005 8:40 am
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It was not a union studio. In fact I believe it to be Sammy's own facility and that the project is being somewhat self produced, but I don't know for sure.
I see your point. When I got the call I was excited and didn't really think of the politics, unions, and contracts involved with the real world of the music "business," like I know anything about the business anyway.
So your advice, when or if it ever happens again is to keep quiet?
DZ |
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Bruce Bouton
From:
Nash. Tn USA
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Posted 21 Dec 2005 2:41 pm
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No judgement intended here. I'm just trying to raise an awareness. Studios are not Union or Non Union. It's up to the player to take a stand.Fortunately Nashville has a strong union and about 12 million dollars of work is filed each year on a Union contract. That means 1.2 million is paid into the pension fund. The more you can do on the card the better.. If I don'tknow who I'm working for I usually ask if I can run it through the union.If they say no then I have a decision to make. Depending on what type of project it is and how many greenbacks are showing can help with the decision.Current single scale for a "master session" is 330.00 and some change. There are other lowbudget scales that are less. There will always be non union work and I would never fault a musician for trying to make a buck but Union work is better if you can get it.
BB
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Dave Zirbel
From:
Sebastopol, CA USA
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Posted 21 Dec 2005 3:00 pm
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Thanks Bruce. Nice to hear from you again.
I appreciate the awareness. I'm curious about the union here out west. I've only met a few musicians that belong to the union in California and according to them there's not much happening with it in the Bay area. Maybe it's stronger in LA since there's more happening.
DZ
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