Studio Drummer – Nuances Of Time

*THIS IS GOLD!  BUY YOURSELF A CHEAP TAPE RECORDER AND JUST RUN IT DURING SETS WHEN PLAYING LIVE.  EVENTUALLY SOMEONE IS GOING TO COME BACK TO YOU AND SAY THAT YOU WERE RUSHING OR DRAGGING.  VERY  OFTEN IT IS THEM!  BUT NOW YOU HAVE A REFERENCE!*

I played with Roger Hodgson of Supertramp on a very large outdoor gig in front of 16,000 people.  Due to some monitoring issues a few members of the band, as great of a band as it was were really pushing ahead on the beat.  I could feel it and was really well acquainted with Supertramp’s music.  (It goes back to that love of music thing again.)

*THE BASS PLAYER AND I HAD TO CONTROL THE TEMPO AT THIS POINT AND PULL THE BAND BACK JUST ENOUGH SO THAT IT WAS SITTING PROPERLY*

It ended up being a smoking gig!

Back to click tracks;

Once you stop wandering around on a click track and can comfortably play with it then introduce fills.

The drum fill and the human being combined with a click tend to be like oil and water.  The universal human tendency when even approaching a fill, let alone playing it, is to speed up.  This is one of the great disciplines of being a session drummer.  If you are playing something that demands great energy and emotion you have to control an aspect of that emotion in order to execute a passage or many passages in perfect time, yet still retain the power and artistry.

It is not easy.  It’s one of the most difficult skills that requires the most time and commitment to develop.  But it’s the lynch pin.

*YOU’LL NEVER MAKE THE MAJOR LEAGUES IN BASEBALL IF YOU CAN’T HIT A CURVEBALL AS THEY SAY AND THE SAME RULE APPLIES HERE.*

So commit hard to this skill. 

Work every feel, every groove at every tempo.  Inside of all these grooves work every fill combination that is a part of your drum vocabulary. Work different length fills.  Very spacious fills as well as very busy ones.  Play an extremely slow blues shuffle to a click but …still make it swing hard.  Ooh that’s a tough one!

Study very carefully your subdividing.  Where do you have all 4 wheels in the ditch so to speak?  But hear me on this!  Where are you slightly pushing or pulling the click?  In other words where are you ever so slightly ahead or behind the click?

Share :

Studio Drummer – Enter the Human Being!

*ENTER THE HUMAN BEING!*

We are not machines and it’s the small human miscalculations and movements that are a part of what makes up the feel of a human drummer.  It’s not the entire picture though and I will get into that later.

The challenge is to have extremely well developed time, time that rivals that of a machine.  There are many variables at play here for all of us human beings.  For example our time is affected by other people’s time.  If you are playing with a guitar player who rushes terribly and is always ‘on top’ of the beat it will effect your time.  Just as if you were playing with a bass player who always drags it will be difficult to not be effected by that at some point.  You’ll also be effected by your mood, your level of excitement.

However this is the skill that is essential and central to being a great studio player. 

Enter the metronome or as it’s known in studio terminology, the click track.  Every successful studio musician is very comfortable playing to a click track and also very comfortable playing without one.  You will come in contact with artists or producers who don’t use and refuse to use one.  There are different schools of thought here.

Every session that I’ve ever done for Bill Henderson of the band Chilliwack has never been to click.  He doesn’t like using them and prefers to go without them.  So in this case the band in the studio is relying on my time and meter to create the foundation.

From my experience however, I’d say 90% of the time you’re going to be using one.  Especially in today’s world of digital editing.  Producers want the ability to be able to cut between takes.  They may use the verse from one take, the chorus for another or they may want the option to swap out sections for feel or energy purposes etc.  The utilization of a click track is absolutely necessary for this.

tune back in for more….

Share :

Studio Drummer – The Best Tend To Produce Their Own Parts

*THE BEST STUDIO MUSICIANS IN A SENSE PRODUCE THEMSELVES.*

In effect they largely produce their own part or playing just like a producer would.  Are producers then feeling threatened by these players intruding on their territory?  Absolutely not.  The reason being is that the musicians are all on the same page and have their priorities in the correct order.

The song is of utmost importance and you, in this case, being the session drummer are bringing your musicality to the table just as much as you are also bringing your session drumming skills and feel and chops to the table.  You are not overbearing in any way and your intent is to support the project, producer and artist in every way.  You know and are very comfortable with the fact that their desires and decisions supercede your own.  You are, however, demonstrating to all present that you hear and are sensitive to the song first and foremost!

Of course the artist and producer will give you direction as to what they want.  Again, like I said before, remember that the artist is always right!!  You may have very definite ideas for your part but never debate your ideas unless of course the artist wants to debate them.  You can gently contend for your ideas at times though, but pick your spots carefully and with sensitivity.  An artist will very often ask you for your opinion if he trusts your musicality and experience.

And lastly remember, the song dictates the part, your part!  Not the other way around!

Share :

Studio Drummer – Less Is More

*LESS IS MORE!*

It’s often hard to understand this until you’ve played sessions for a long time.  But take my word for it.  It is the biggest rule of studio playing that you must learn to embrace.  

Listen to David Beal lay it down on Unchain My Heart by Joe Cocker.

Fantastically solid playing.  No frills and un-needed bells and whistles.

Just exactly what the song requires!

Listen to all the greats here.  The execution, the groove and effect of their playing is top shelf and yet most often you’ll find that there is very little going on.  You’ll notice the space.  The air in their playing.  The simplicity of the fills.  Yet what they’re playing is highly refined and perfect for the song.

Knowing what not to play is what takes the years of experience and refinement.  Of course this is not always the case and you’ll hear more complexity at times for differing types of music but it is the general rule.  I highly advise you to not try to reinvent the wheel here. 

Practice a state of mind when you listen to a song where you are truly listening to all aspects of the song.

Listen intently to the lyric of the song, the emotion of the song, the key points of emotion in the song.  Listen to the dynamic or the ebb and flow of the song.  Where does the song rise in emotion or intensity?  Are there points in the song that move you emotionally or where certain chord changes or melody or lyric move you that you could support, enhance or subtlety mark in your playing.  Very important!  Listen to the vocal and make note of key moments such as emotions, fills or entries where you don’t want to ‘walk on the vocal’ as they say, meaning that you don’t want to clutter or distract the listener. 

*YOU WANT TO SUPPORT AT ALL TIMES.*

Make note of rhythmic phrases that other melodic instruments are catching and understand and internalize the rhythmic phrase and make note of them on your chart.  For example make a musical decision in this case whether you’re going to strongly mark that rhythmic phrase or perhaps just catch elements of it.  Instead of adding crashes you could just catch the phrase with your bass drum while still grooving over top of it.  You might decide to allow the upper structure instruments to catch it and play right through it, which also may be the appropriate decision to make.  There are times when if everybody jumps on a phrase it becomes ponderous.

The more you think this way as a studio musician the more in step you are with the music, the artist and the producer.  This brings up another fact that

Share :