I've been lucky enough in my long music career to have been
hired to play on quite a few recording sessions. This is a kind of work that I
enjoy very much. I love to perform on stage, but studio work has a quite
different set of challenges, and it can also be very rewarding, both
financially and from the perspective of personal and musical development.
In fact, my very first paid job as a musician was a
recording session. I was 15 years old, and this was even before my first band had played its first gig, I was
hired to write and record a suite of instrumental background music for a
corporate training tape. I wrote a theme and variations, recruited the drummer
of my band, and we went into a small eight-track studio for a day where we laid
down guitar and drums. I then overdubbed bass and lead guitars. The client had
some musical skill himself, so he added a few piano parts. I will never forget
the first time I heard my playing loud and proud through studio monitors. I
knew then that recording was something I had to do a lot more of.
In the many years since then, I've taken part in many recording
sessions. I've seen recording studios evolve from 8 track, through 16 to 24
track on analogue tape. I was there when the first digital recorders appeared,
at first on tape, and then later on computer hard drives. I’ve recorded at
iconic studios like De Lane Lea (where Jimi Hendrix and Deep Purple recorded), Advision
(The Yardbirds, The Who) and Trident (The Beatles, David Bowie, Elton John). Some
of the music I've recorded at these sessions disappeared without trace. Other tracks
got released as album tracks or even singles. Here’s a single I played lead and
bass guitar on that did quite well in the indie charts.
Younger musicians often ask me how to break into recording
session work. It’s about time that I set out my thoughts here for everyone to
read.
The most important way to pick up session work is to have a
large number of contacts in the music business. Most of these will obviously be
musicians. How do you get to know other musicians? By playing with them. If you're
a strictly bedroom guitarist, form or join a band. Rehearse regularly and
often, and then play gigs. If you're any good, other musicians will come to see
you, some to check out the competition, and others to admire your skills and
worship at your altar (“so, what strings do you use?”).
Go to local jam sessions. Some experienced players avoid
them like the plague, because the last thing that they want is to have to jam
with a band of novices. That’s a little short sighted in my opinion. The host
of the jam will appreciate having another experienced musician to hold the
performance together. The novices will also take the opportunity to learn from
you. Not all virtuosos avoid jam nights. I've met quite a few pros keeping
their hands in on their nights off. Especially those that like a drink! Also remember
that today’s beginner may be tomorrow’s band leader.
By far the most important source of musician and music
business contacts is Facebook. Here's my Facebook page, go ahead, connect with me: https://www.facebook.com/PeteFarrugiaGuitarTeacher, the more the merrier!
My musician (and other) friends are divided into
those that “get it” and those that don’t. The Facebook refuseniks have their
reasons. These tend to be based on worries about personal security, or the
banality of some people posting every five minutes about what they've just
eaten, or their toddler’s first word. Yes, security is an issue, but if you
think that you're safe from identity thieves or a future malevolent
totalitarian government just because you're not on Facebook well, you're
underestimating them. Lock down your account so that only friends can see your
timeline, and make sure that your posts and pictures aren't set to “public”. Persistent
offenders that post too often or offensive material (often political) can be
unfollowed or unfriended. If you don't interact with these people then their
posts will pretty soon stop appearing on your timeline anyway.
For musicians, especially anyone wanting to get gigs or
sessions, joining Facebook (and more importantly being active on it) are
absolutely essential. This is the way I get the vast majority of my dep gigs
and sessions. Sometimes you find a musician on Facebook that you haven't seen
or spoken to in years. A quick friend request and you're back in contact. Months
or years later when they need a musician for a session, even though they don't
have your phone number or address, you can be contacted within seconds via a
Facebook message (make sure that you switch notifications on, and install
Facebook on your mobile phone).
Being a great player is (of course) essential, but so is a knowledge of music theory. Sometimes a client might need a little help with their material, and a skillfully chosen suggestion is sometimes welcome, although remember to be diplomatic at all times!
Another question that I get asked is “do I need to learn how
to read music?”. I would say “yes”, even though these days it’s highly unlikely
that you're going to be presented with an actual score to play. I'm the first to admit, that like the vast majority of guitarists I'm not the world's fastest sight-reader. However I studied Classical guitar in my youth, and I have on
occasion been given “the dots” for a guitar solo to play. On one occasion this was
because the client was a keyboard player that wanted the exact solo he had demoed
on a synth to be played on a real guitar. Most of the time if you're reading at
all, you’re following a chord chart. Even if you can't sight-read standard
musical notation, reading and understanding chord charts is a must.
Make sure that you're familiar with the different methods of
naming chords on chord charts. Here are three different ways of writing the
chord G major seventh.
GM7 GMaj7 G∆7
One musician that I have recorded many sessions with
infuriatingly writes “GM7” for G minor seventh! That’s just asking for trouble.
No-one has ever hired me for my reading skills. I have a
reputation as a capable and versatile player. You can be the most advanced Dark
Metal shredder in your town, but you won't get any sessions with R’n’B or
Reggae bands. I find that a good knowledge of music history is essential.
Sometimes your client might ask you to play like Steve Cropper, or T-Bone
Walker, or George Benson. If you're unfamiliar with their sound and style, it's unlikely that you'll be asked back.
Your instruments, amps, effects and cables must be good
quality, reliable and well maintained. On the morning of the session I set
aside time to adjust the intonation of my guitars. If you don’t know how to,
well that’s what the Internet is for! Always use a stage tuner pedal and check
your tuning between each take.
Finally, take an interest in your client’s project. A little
praise and encouragement goes a long way. Play each take as though your life
depends on it, and the results will enhance the client’s recording and your
reputation.
