Session Work

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.