First REAL recording gig

[nillawaffa]

Not sure if this goes in the basses section of these, but it's somewhat applicable so here goes.

I just got my first phone call from a producer for a real studio gig. I've done plenty of studio gigs with a variety of my own bands. I've also played for a lot of my friends bands, sometimes in professional studios, mostly in basement/home studios. But this is the first time I've gotten the call to play (and get paid) in a professional studio with a band who I don't know and material I've never heard.

I want to know, hopefully from people who have done SESSION WORK (i.e. not going in with your own band. As I've stated above, I've already done that many times and already know how that works), what should I bring and what should I expect? Should I bring all my basses, amps, cabs, and effects? Basically, since this is the first I don't want to make an ass of myself and have it be the last

As far as I know, the sound of the group is pop/rock led by 2 chicks who are going for a "maroon 5" sound. That's all I know about the music.

I have a couple jazz basses, couple p basses, a semi hollow, a fretless, solid state and tube amp, berg nv412, ampeg heritage svt with 810 cab, and a smaller 15" no name cab. Plus a bunch of different pedals.

Any help would be greatly appreciated!

[Jim Carr]

Talk to the producer about what to prepare (get scratch tracks), and what he/she has in mind. Then bring a little extra stuff that the studio doesn't have that you can offer. For example, on one date I brought 2 electrics and an upright. The producer wanted clean bass tone, and in particular asked for my Sadowsky P/J, as he had heard it live. I also brought a fretless, my upright, and a countryman DI, even though they hadn't been asked for. Ask the producer about amps, but for me, maybe 1 in 5 sessions have used an amp, and the studio provided it (and ultimately rejected the results each time).

In this instance, I was very very prepared, and did each track in 1 or 2 takes. There was a lot of time left, so the producer decided to try another instrument. I got out the fretless, but the artist was uneasy with the "look" of the instrument (long story—Valenti all black Stealth bass). I suggested the upright and we went with the it. I recorded everything again on upright with a couple of mics in a isolation tent. That set of takes was what ended up on the release.

Bottom line, bring 2 or 3 great instruments, a pedal or two, tuner, stand, music stand, and be ultra-prepared. Whatever is asked for, do it—no quibbles. Be willing to quickly suggest alternatives, but if they are rejected, move on right away. Listen to criticism, say little, be ultra polite, very efficient, light-hearted, and waste no time bad-mouthing yourself for mistakes—and no matter what, as you probably know by now—don't adjust levels of anything on your gear once you begin.


Did I mention be prepared? That includes the music, the instrument and yourself—strings, setup, practice, memorize, write charts if needed, get sleep, avoid hangovers, booze, weed, etc. Be patient, relax, and focus on the music not the technique, instruments, or tone.

Have fun!

[nillawaffa]

Wow, thanks so much for your thoughtful response!

What kind of session work do you normally do? I find it strange that you rarely need to use an amp. I love some of the characteristics of a nice mic on a high end cab. It's always blended with a DI of course, but I find that interesting.

[kaputsport]

Aside from the info listed above, you will hear everyone tell you to take your best Jazz bass.

Seriously, the best sounding PASSIVE jazz is a must. If it were me, I would bring my pedals just in case, but don't expect to use them. One other thing to think about, you might want to take your Tube amp, or SVT. The reason? Preamp. If you can use it as just a preamp, you will get that "ampeg" tone everyone wants, and the engineer will have less to do.

Every time I do any kind of studio work, or even live "production" work, I make sure I am over prepared. Many people tend to hate non-traditional looking basses, or weird configurations regardless of how they sound. J bass, Ampeg and a few pedals and you should be set, but I would bring a fretless and a P bass just in case.

[BeSharp]

I usually talk to the producer and try to hear samples of what we'll be playing. I ask about the kind of bass sound he/she is looking for and bring what I need. Around here I almost always am being recorded direct so I don't bring an amp. I usually only bring one bass that fits what we're going to record. Most the studios around here have a small arsenal of cool vintage basses that I will play if asked. It's really pretty simple. Typically I'm only recording one song per session so it's easier (mostly commercials and jingles).

[bassgod0dmw]

I would definitely bring a P and a J.

As for micing the amp, most engineers go with what works and is simple. That's usually a DI. They may request that you bring a P bass and they'll use their DI because they know exactly how to make the P and DI sound great with minimal time.

[Kryptos]

Dr. Carr's advice is excellent. In addition I would add:

- be on time
- be flexible/easy going
- be very polite
- dress appropriately

Enjoy!

[johndough247]

Worked as an assistant engineer in a pro studio as well as an on call session bassist. Agreed with all previously said, my advice would be to take a jazz that's active with a passive option if you have one (e.g. Sadowsky) and a passive P. Depending on the material, it might need that 'jazz on steroids' tone. Ask in advance about amps but most times it's DI. the only pedal I'd walk with is an octave or a synth pedal, they usually have more than adequate effects at the studio.

[nillawaffa]

Thanks for all the helpful feedback. It sounds to me like I was about to be a little over prepared! Which is better than the alternative The producer just called me and set up a time to meet on Saturday. Recording starts Monday, so it sounds like I'll have about a day to prepare my parts. I'll make sure to talk to him about what he wants as a bass sound and what gear he expects me to bring. I'm getting excited!

[Jim Carr]

Originally Posted by nillawaffa

Wow, thanks so much for your thoughtful response!

What kind of session work do you normally do? I find it strange that you rarely need to use an amp. I love some of the characteristics of a nice mic on a high end cab. It's always blended with a DI of course, but I find that interesting.

You are most welcome. Work I do normally?? Not enough, LOL!

Seriously, I've done bass on projects for independent artists (CD production), PBS, XM, live broadcast radio, etc. Styles have been Acoustic, Bluegrass, Americana/Roots, Rock, Country, Blues, Soul, Urban/R&B, Electronica/Improv, plus a lot of band demos in many styles, but no paid Classical, Metal, or straight-up Jazz.

The physical amp has been somewhat replaced by tube pre-amps and PT plug-ins, IME—though fashions change, don't they?

[DougD]

If you normally play with low action, raise it a bit. It will help eliminate buzz or noise that producers find annoying. Be as prepared as possible. Find out the type of music you'll be playing (if you can, ask what sound they are going for). If you can nail it on the first take, great, but stay as long as needed if you can't (without complaining). But the general rule is, time is money. Other than that, I completely agree with every thing suggested so far. The only things I can add is be on time, and professional, and all about the business of the song. Make them happy and they will call you back. Oh, and don't over play (less is generally better), unless they ask you too

[Jim Carr]

Originally Posted by DougD

If you normally play with low action, raise it a bit. It will help eliminate buzz or noise that producers find annoying...

All of DougD's advice is great, and I thought I might add a little to this point. While I don't use very low action, I guess I must confess that wanting to clean as many noises as possible out of my playing is the main reason I prefer a basically standard height, rather than extra low action in my set-ups.

However, I am also ultra self critical of all the sounds coming from me and my instrument. I advise recording yourself a lot, and close critical listening (soloed) to what you have laid down. Figure out what is making each buzz, zing, slide, squeak, click, clack, gank, bump, click, whack, etc. Sometimes very tricky, at least for me!

These sounds might ALL have musical uses, but be sure that you control when and how they occur. That includes eliminating as much fret noise and string noise as possible. It takes practice.

[M.R. Ogle]

Jim Carr's advice is really spot-on.

Even though I can't say that I've ever been a pro hired session bassist (unless you count being paid in beer, Fender T-Shirts, or a promise that "if I ever get signed...") he's exactly right... the studio time it takes to do YOUR bass tracks is costing someone, somewhere some money.

If you nail it in one take, great, but be ready to provide a couple alternate takes, too. You're probably not as familiar with the material as the artists/producer, and they may have a specific "feel" in mind for the bass part. Not that what you played is bad, they just might want a slightly different flavor.

Get in, be ready, play cleanly and play spare (you don't know what else is going on the other later tracks) and be positive.

[nillawaffa]

Just wanted to follow up with you guys. I had the recording session yesterday and it went great. I brought a few basses and my amp and pedalboard. We ended up using my reverend dub king bass (blended all the way to the neck pickup). They did want an amp sound and loved my Aguilar db750/bergantino nv412 the most. Didn't even touch the effects.

When it was all said and done, as the producer was paying me, he asked me to play on a full length album he's working on next month. He said if I do well on that, there is potential for me to go on tour with this group. They will be touring arenas so this would be very exciting for me! If it all pans out I'll keep you updated!

[Jim Carr]

Awesome!
Congrats...will send my bill for consulting services...


j/k!


Tell more details!!!

[nillawaffa]

Originally Posted by Jim Carr

Awesome!
Congrats...will send my bill for consulting services...

j/k!

Tell more details!!!

Yeah man, thanks for the advice!

As far as more details...I don't know what you're looking for, but I'll elaborate a little more on how the day went.

I showed up about 15 minutes early to setup, which was great. I heard the producer complaining later on in the day how the keyboard player consistently shows up 15 minutes late. The first thing we tested out were some different amp setups. We went through the standard SVT, then an old b15, and a couple others that I cannot recall right now. I know they were all ampeg, obviously. That seems like all any studio ever has. I asked if he wanted to hear something a little different and pulled out the Aguilar/bergantino setup I mentioned above. He liked it a lot and said he was really surprised by how great 12's sound on bass. After that, we tried some different basses. Started with a p, the a jazz, and finally I pulled out my new reverend dub king. He liked it a lot on the neck pickup and said it sounded like a p bass on steroids. We messed with some of my effects for about 5 minutes but it just wasn't what the songs needed so I just ran through a rack compressor that the studio already had. They had some super fancy DI that I've never seen before that sounded great. They also messed around with different mics and placement. I got to play my bass really loud and hard for a good 30 minutes while they just adjusted levels and whatnot.

Once we started in on the songs it went pretty smooth. I did ever song once through. Then we went back and if there was a section they wanted me to do again, he would tell me what he was looking for, and I would do it until he was happy. I did three tracks which took about an hour of actual playing.

I learned a lot from my first session and I can't wait to do it again. Everyone was really nice and very professional. They bought me lunch which was a bonus! I also realized that networking is super important. I got to schmooze with the producer and drummer quite a bit, which led to more potential gigs. I don't really want to go into the details of those potential gigs in case they fall through, but I'm pretty excited about being considered for some really cool gigs!