Session playing

[alhbass]

Hello - I'm seeking the advice of any players who do session work.

I reckon I'm a fairly competent player - I mean, I'm no Jaco, but I can get around the instrument, I'm experienced in playing a variety of different music styles, and I can read music (because I trained years ago as classical musician....but that's another story). And I have lots of experience of the recording process in both professional classical music, and with good amateur bands. But I'm not sure either of these would prepare me for pro session bass playing.

I've played in a few bands over the last few years, and take my music-making seriously - but always for the pleasure of it, rather than for money so far. I recently tried out for a band that included a couple of pro session players (drummer and guitarist), and the drummer has just asked me whether I'd like him to put my name forward for some session work. I'm flattered of course, and want to say yes really, as it seems like a great opportunity. But I'm apprehensive too - not wanting to make a complete tit of myself if I find out the hard way that actually I'm not of the expected standard! I also worry about it reflecting badly on him if I turned out to not be up to it.

So what I'd really like to know is how sessions work in practice. Eg would you usually expect to get the music in advance, so you can have a look at it before going in to a studio? Or are you expected to just turn up and sight-read on the spot? That's my biggest concern really - I'm pretty confident of being able to learn stuff well, but under pressure I'd worry about being able to deliver a great bassline from a standing start...

Any comments or observations from those with firsthand experience would be very welcome.

Cheers.

[Hot Tub]

I haven't done any session stuff (although I will be on Monday!), but from many conversations with a number of local musos over recent months, I can confidently say that there are a lot of guys doing session work who have barely a fraction of your knowledge and experience. Plus, with your positive and open attitude which comes across in your original post, I reckon you'll be absolutely fine.

This of course, is probably no help whatsoever.

[alhbass]

[quote name='Hot Tub' post='795592' date='Apr 4 2010, 11:41 AM']I haven't done any session stuff (although I will be on Monday!), but from many conversations with a number of local musos over recent months, I can confidently say that there are a lot of guys doing session work who have barely a fraction of your knowledge and experience. Plus, with your positive and open attitude which comes across in your original post, I reckon you'll be absolutely fine.

This of course, is probably no help whatsoever. [/quote]

Thanks for your reply Hot Tub - It's definitely encouraging at least!

What's involved for the session you're doing on Monday then? Do you know what music you'll be playing? How did you get it?

Good luck with it anyway.

Cheers, Al

[lowdown]

There are sessions and there are sessions.
Some will be loose in the fact that the producer has a vague idea of what he wants
and would encourage your input Bass playing wise, so good use of listening and ears and awareness
of whats going on around you is important.

Then there is the other side, where it is very rigid.
Great reading chops required here and not much [if any] room for error. [ you might be very very lucky and get the charts sent to you, this dont happen much, but if you are worried it dont hurt to ask, if people have time they will forward parts]
Turning up on time [or before time] is important.
IE - 10-1.00PM session means the red light goes on at 10.00.

Not getting paronoid when you are asked to change something you played.Its for the good of the track! Nothing
against you.

Dont be afraid to pencil things on your parts [it all helps] watch horn players they are doing it all the time with
Articulations and fingering.

And all the usual things [ strings and everything working and not making noises]

Confidence, discipline and strong Focus.Versatile.
No showing off.You might be dealing with arsey nit picking Musical supervisors/MD's and Arrangers.
Bottom line - be prepared for anything.

And if all that works - Have your Invoice or Invoice book handy.
You will then get paid!

Apart from all that, it's a piece of P##s!



Garry

Edited April 4, 2010 by lowdown

[woodster]

I spend most of my Working life doing sessions and I can't remember the last time I was given anything in advance. Most of the time, the producer and/or client will gave a vague idea of what they're looking for but it's usually a case of improvising a line over a chord chart and drum track. This will be met in one of 3 ways.....
"what the f... Was that?!"
"that's kinda it but......"
or
"that's it!"

Know your genres coz you'll often be told the track's in a certain style or a certain artist's style. As long as you're good with making up basslines, willing to take criticism and direction and able to communicate and listen, you'll be fine.

[alhbass]

Thanks for these replies. Sounds very much as I expected. I think it's just one of those things in life you have to say Yes to while the opportunity is there, so I'll go for it if I get the call. What's the worst that can happen eh? No one's going to die. Unless I'm reeeeeeally bad...

[Rosh]

That's it... I'm learning to sight read... I know theory, if you tell me root notes or scales etc I'm sure I could just play them -- I just can't read off of the stave!

You've inspired me to do so -- so thanks

[Faithless]

There are at least a couple of similar threads with wonderful advices from pros - isn't it worth to do some search, rather making another one?

They're all named kinda the same..

[JakeBrownBass]

[quote name='Faithless' post='795828' date='Apr 4 2010, 05:15 PM']There are at least a couple of similar threads with wonderful advices from pros - isn't it worth to do some search, rather making another one?

They're all named kinda the same..[/quote]

The old if you've got nothing good to say don't say anything at all comes to mind a little bit here.

The bottom line is, if you've got the chops & the skills, its all about being unique, reliable & networking.

[JTUK]

You get asked ...nobody uses yellow pages etc..
It is all down to being recommended or someone you know, as you can be expected to just do it.
If you have had your name put forward that is an endorsement and a start.
You need to say yes straight away as deliberation probably means that you will be too worried/nervous etc to cut it on the day.

Obvously the gtr player thinks you are up to what he does...so just say yes.. you don't get asked back if you don't do too well, but that applies to playing with people in general.

[gerryk]

It took me a long time to realise that when someone asks you to do a gig/session, or wants to put you forward, you've already got their approval! This should be a great source of confidence for you. You wouldn't be asked if the experienced sessioners didn't think you'd hack it.
Much already said in replies above, but a few points to note from my experiences:

Make life easy as possible for yourself if you get a session, i.e. know where the place is, how long it should take to get there: producers/MDs don't like being kept waiting for latecomers, as they're under pressure to deliver in a reasonable timeframe.
Generally the rhythm tracks go down first, so I often get in a little early, and get a listen to the backing tracks as they're comping up the mix, if there are any.
Have a scan over your gear a day or two before: you don't want easily preventable probs like dud batteries/strings/leads etc marring your performance. It's amazing how easy it is to forget this stuff, and if a particular session turns out to be a bit of a roast, the last thing you need is interruptions/delays due to your kit. It can really ramp up pressure if you're susceptible (I am!).
If you have a "this is my left arm" bass, do bring it, but it's no harm to have options. I'd typically have 4 basses with me at least one a 5 string. The vast majority of sessions I do, I record direct into the desk, or if on upright, mic into the desk via a studio preamp, so I rarely need an amp, but it's no harm to have one if you don't know how they intend to record the bass.

Re sight reading, you normally have a bit of time to scan the chart before run-thru's with the backng track or drummer. Many of the famous NY/LA pros emphasize this important tip - and I'll humbly add my vote. Scan the chart, noting any awkward-looking phrases, and break them down in advance of the run-thru. Also, at the same stage, note the layout of the track, i.e. the repeats, Signs, Coda etc, as this will make life much easier when playing the track. It there's a really tough phrase somewhere, don't become obsessed, just play thru the chart in time, and ask to be dropped in after the take at the part you're not happy with. This allows for good workflow, and prevents the drummer for instance, being cut short in the middle of a groovin take (for him!). Don't feel "amateurish"
about this - it's very common for producers to ask drummers to play thru a whole track straight, then add fills after.
As has been said, the chart might be written note for note, may be just a chord chart, or there may be none at all, there just being a pre-recorded guide track with, for example, simple click, some rough keyboards and vox. I've also done lots of sessions where I had to replace a synth demo bassline with real bass, note for note, or occasionally a very good bassline played poorly or with bad sound or tuning.
In the absence of a written arrangement chart, if you're quick at sketching out a chord chart/road map of the song, usually producers don't mind you doing it, but trust your own instincts, if you're quicker just learning while playing along with the track, do that.

Most of all remind yourself that you're there because they asked you, so focus on the gig in hand and enjoy!

Cheers,

Gerry.

[Hot Tub]

[quote name='alhbass' post='795601' date='Apr 4 2010, 11:50 AM']Thanks for your reply Hot Tub - It's definitely encouraging at least!

What's involved for the session you're doing on Monday then? Do you know what music you'll be playing? How did you get it?

Good luck with it anyway.

Cheers, Al[/quote]


A local singer/songwriter heard me playing and asked if I'd do some bass tracks for some of his songs. I've heard bits and pieces, but it's mostly going to be a case of making it up on the hoof. He wants "tight & simple", & "support the song", which is fine, because flashy I ain't! If it all goes to plan and he's ok with it then I'll link to his MySpace on here. He's a very talented guy.

[Faithless]

[quote name='jake_tenfloors' post='795837' date='Apr 4 2010, 07:25 PM']The old if you've got nothing good to say don't say anything at all comes to mind a little bit here. [/quote]

Sorry?

[OutToPlayJazz]

I do some from time to time, but the recording work is getting thinner on the ground these days. Why, I hear you ask?

ProTools & all of the new sampling software around these days makes us practically redundant, not to mention the cost savings for producers. If you listen to the Amy Winehouse albums and the last Lilly Allen album, you'll hear what I mean. It's all digital, there's no bass player or drummer for the most part & it's compressed to hell and back.

It's a pity, as those of us in the know can spot a pro-tools recording a mile away!

As for expectations, on most pro jobs, be they sessions or pro gigs, you're expected to sight read the parts most of the time. You can sometimes be lucky and get the parts sent to you in advance, but most of the time, the studios are on a tight schedule and it's a case of get in there on time (or an hour early which is my mantra) and read it there and then.

[Owen]

Yes, you read the parts on the session, but not with the red light on for the first read through.

If the line is written, you can actually take liberties with it - it is more than likely written by a keyboard player who is not a bassist so will not 'sound' like a bass line as we know and love them.

The producers or Musical Directors want bread and butter lines for 98% of any recording work you do.

It is not about technical chops, it is about time and feel chops. It is about making a rubbish drummer sound good even though no one else in the room knows why the feel is not happening.

It is about bringing enough fresh crunchy grapes to share around all the musos and the technical staff and making the vibe good.