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Big Road Blues Discussion Forums 2010-11-03T03:26:58+00:00 2010-11-03T03:26:58+00:00 <![CDATA[Re: Session Work Techniques?]]>
the last band recording i was in on, the drummer we were using was fairly new to us and was kind of hesitant. and we just couldn't seem to hit the groove we wanted on the first few songs. finally the engineer and his helper had a heated discussion and the assistant went over the the drum booth and told the drummer, "man, you may just pack up and leave after i tell you this, but STOP PLAYING LIKE A PUSSY! you are not in church, these guys need you to hammer the tom and snare into the floor and kick the bass drum right through the wall of the booth!" and amazingly, the guy did just that and we hit the groove immediately. we nailed 11 original songs in one session that day. after the session we talked about it a bit and the drummer told us he didn't want to go over the top. but when you're all wearing phones and going live, you really need that bottom end. the engineer can model the sound you're getting in the phones but there has to be some good raw material for him to work with.

Statistics: Posted by jbone1 — Wed Nov 03, 2010 3:26 am

2010-11-02T12:40:03+00:00 <![CDATA[Re: Session Work Techniques?]]>
I've done enough home, rehearsal, and gig recording to know that you almost always hear things on the recordings that you don't like. I also know that most of us are our own harshest critics, but I don't think too many of us use that as an excuse not to work hard at getting the job done.

It's fairly easy though, to please a live audience while not playing at your best-- as long as you play fairly well and have a good time, etc. But, I've always been a little intimidated by the fact that live performance and recording presented differing obstacles.

Statistics: Posted by jeffl — Tue Nov 02, 2010 12:40 pm

2010-11-02T02:29:17+00:00 <![CDATA[Re: Session Work Techniques?]]> Statistics: Posted by too2tall — Tue Nov 02, 2010 2:29 am

2010-11-01T17:45:30+00:00 <![CDATA[Re: Session Work Techniques?]]>
When I first started doing session work, I just went in and did what I was told until one night we spent 2 hours trying to get a particular sound doing things the engineers way.

I knew exactly how to do what he wanted but kept my mouth shut and tried to let him run the session the way he thought was right.

Finally he gave up, put his ego in his pocket and asked for suggestions.

I gave him some and we had the train back on the track in about 5 minutes!

We BOTH learned something that night!

He might know how to record and manipulate the sound, but he cant do jack until he gets the sound and that comes from YOU!

DONT be afraid to speak up!

Statistics: Posted by TC6969 — Mon Nov 01, 2010 5:45 pm

2010-11-01T13:26:42+00:00 <![CDATA[Re: Session Work Techniques?]]>
I've ratcheted up my networking a little more again in the last couple years, largely due to the fact that I'm approaching retirement age (I'm 59) and I'll hopefully soon have more time for gigging and practicing. I'm really interested in doing "call" work in Minnesota. There's not alot of harpers around here... anybody from metro areas in other states would be shocked by the paucity of decent harpers.

I've got alot to learn too. All I've got really is decent chops. My knowledge of discology, titles, etc. sucks. I've always been a sideman harper; never led a band with harp or keyboards. If you asked me to play the signature lick of more than a few tunes, I'd ask you to hum a few notes and then I'd be fine alot of the time, but I also may blank. Give me a few days to work on something off a recording and I'll probably get it down unless it's real demanding. But, hey, it's great that there's alot to learn; it keeps you going.

Statistics: Posted by jeffl — Mon Nov 01, 2010 1:26 pm

2010-10-31T05:55:26+00:00 <![CDATA[Re: Session Work Techniques?]]>
the hardest thing for me was always that things like harp usually go last, so they're recorded last. unless you're doing live or scratch recording and you totally nail it, you may be doing several takes of the same thing. it can be a long day or even several trips to the studio, where you wait for the engineer to get everything ready, and do your thing several times until it's "right".

it is a good idea to know what you'll be playing on but i've never rehearsed to death before hand. i like it to be somewhat spontaneous.

it's a pretty cool process to be involved with. sound engineers can do some amazing things in the booth!

Statistics: Posted by jbone1 — Sun Oct 31, 2010 5:55 am

2010-10-28T02:27:04+00:00 <![CDATA[Re: Session Work Techniques?]]>

Statistics: Posted by bottleneck — Thu Oct 28, 2010 2:27 am

2010-10-21T14:06:22+00:00 <![CDATA[Re: Session Work Techniques?]]>
It's strange, but I've found myself wondering if I've tolerated things in my harps (like slightly out of tune reeds) that'll jump up and bite my butt in a recording scenario. I agreed to do this primarily for two reasons: first, he's a long-time acquaintance and I'm not in the habit of denying any normal request that I can accomodate, and secondly, it's a learning experience that hopefully will help in my networking. One of my aspirations has always been to do "call" work when bands come through the Minnesota clubs and casinos.

Statistics: Posted by jeffl — Thu Oct 21, 2010 2:06 pm

2010-10-21T06:10:01+00:00 <![CDATA[Re: Session Work Techniques?]]> Statistics: Posted by gheumann — Thu Oct 21, 2010 6:10 am

2010-10-19T17:34:49+00:00 <![CDATA[Session Work Techniques?]]>
He's doing another CD with a different band and wanted a harper for some tracks. He'd heard me play, but not much.

I've never done studio recording (yeah, he's got a real studio), and was wondering if anybody had any tips about session work from a standpoint of techniques that might pertain to recording vs. live playing. He's gonna ship me some tracks first, but I told him that I didn't want to beat those to death before I got an idea of what he wanted vs. what I heard after listening to the tracks.

I read music, but I don't expect that'll matter with this task.

BTW, this deal won't pay much; he's got a budget of $1500 for the sidemen, not counting his band. And, it might take some time, 'cuz I know he's picky, based on how long he worked on the mixing of his last CD.

Statistics: Posted by jeffl — Tue Oct 19, 2010 5:34 pm