The Advantages of Using Session Musicians on Your Song Demo
While I am a big proponent of wearing as many hats as you can in your musical career, there are certain areas where it makes much better sense to rely on experts. Remember that a songwriting demo is supposed to put your song in the best possible light in order to “sell” it to prospective artists or place it in films and TV shows; it is not supposed to be proof of your studio musicianship.
By Cliff Goldmacher
Why do professional recordings sound, well . . . professional? There are a number of reasons, including high quality microphones, pre-amps, an experienced engineer and a well-designed studio space. But one of the single most important elements in a great-sounding, professional recording is the performance of the session musicians. There is a reason that the job of the session musician exists. It’s these musicians whose talent and studio experience contribute in a major way to the polished sound of a recording. Because there are different rules that apply when you’re recording an artist demo, I’m going to limit the scope of this article specifically to songwriting demos.
Shouldn’t I Be Able To Do This Myself?
While I am a big proponent of wearing as many hats as you can in your musical career, there are certain areas where it makes much better sense to rely on experts. First of all, it’s extremely important that you take ego out of the equation. There is no shame in having someone else play on your demo. Remember that a songwriting demo is supposed to put your song in the best possible light in order to “sell” it to prospective artists or place it in films and TV shows; it is not supposed to be proof of your studio musicianship. Recording your instrument in the studio requires an entirely different skill set than playing live. For lack of a better description, studio recording is more like music surgery than a musical performance. While you might be comfortable playing guitar in your living room or even on a stage in front of hundreds of people, it’s an entirely different ballgame to sit in a four-by-six booth wearing headphones and listening to a clicking sound. Giving a note-perfect, dynamic and in-time performance in this kind of unnatural setting requires a special set of skills.
Isn’t It Cheaper if I Do It Myself?
Given that we all have to keep an eye on the bottom line when it comes to our recording budget, there is the temptation to save money by playing on the demo yourself. The problem with this method is that often it will take an inexperienced musician twice as long to get a viable take as it would a pro. One of the many advantages of using session musicians is that not only are they good at what they do, they also do it fast. In other words, the price you pay to hire a session musician translates into savings on studio time compared to playing the part yourself. Being fast in the studio is useful for another reason as well. When a session bogs down with take after take, it starts to feel a lot more like work. When things go quickly and smoothly, they stay musical and fun. Don’t discount the need for a session to stay enjoyable. My experience has been that everyone does his or her best work when the atmosphere in the studio is light and productive.
Great Expectations
When it comes to recording a demo, it’s essential that you keep your listening audience in mind at all times. In the music industry, there is a certain level of “polish” that record labels, publishers, managers and producers have come to expect from the demos they listen to. By bringing in the same musicians that play on hundreds of songwriting demos and major label record projects, you’ll be giving these industry types what they’re used to hearing. We’ve all heard from time to time that industry professionals say they can “hear through” your rough recordings. My recommendation is not to take that chance. You’ve only got one opportunity to make a first impression and you should give yourself every advantage. Also, even if there is one industry professional willing and able to hear through a rough recording, you’ll hopefully be pitching this song to a number of industry people, many of whom will be expecting a professional sounding demo.
The Care and Feeding of Session Musicians
When it comes to working with session musicians, there are a few things to keep in mind. First of all, if you’re not comfortable writing out a chord chart, professional session musicians are perfectly capable of listening to your rough recording and writing out their own charts. For them, charting is quick process that should take no longer than 10-15 minutes at the most. Then, when it comes time for the musicians to play, always suggest that they try it their way first. There are two reasons for this: First, you’ve hired them to make your demo sound great, so you should give them a chance to go with their instincts before you offer any direction. Secondly, by letting them do what you’ve brought them in to do with a minimum of interference, you’ll create goodwill that will go a long way towards the overall vibe in the studio. In almost every case, what the session musicians come up with will be better than you ever expected. However, if you’re still not getting what you want after they’ve tried it their way, you’re 100% entitled to politely ask them to try it the way you were hearing it. The only appropriate response from a session musician to your request is “absolutely.”
Conclusion
It can be intimidating to work with such talented musicians, but remember, they’re working for you! One of my favorite expressions is “the best ones have nothing to prove.” In other words, when you hire pros not only will they be great at what they do but they should be a pleasure to work with as well. There is no reason to hire even the best session musician if he or she has a bad attitude. This is extremely rare but if it happens, I’d recommend never using that musician again. There are way too many wonderful, friendly and talented session musicians out there to ever settle for one with a chip on their shoulder.
Finally, if you’ve never used a professional musician on your songwriting demo, do yourself a favor and try it out. You’re in for a treat and you’ll end up with a great demo.
For additional information, download Cliff’s free eBook, “The Songwriter’s Guide to Recording Professional Demos,” at http://www.cliffgoldmacher.com/ebook.
Posted Jan 21, 2010
Member Comments
1.) Have you at least got a chart with lyrics and chord changes for starters for the session musicians to use PRIOR to the session along with a rough “bed” track of main instrument ( piano or guitar ) and lead vocal ?
2.) Has the recording engineer and producer ( or the same person who does both ) have the same written and recorded charts & recording for a preliminary sketch of what you’re trying to accomplish with a demo in their studio ?
Steely Dan has a DVD called, “The Making of Aja” in which they play several guitarists’ performances on one song. I forget which. It may be “Peg.” Then they play the one that became the cut and was released. The profound difference in that one compared to the others is the difference studio session people might bring to your work.
And I think Bob Dylan’s “If Not For You” has a story of session man Joe South coming in and playing the now familiar four-note riff that does a ‘Response and Call’ so well to Dylan’s four-note vocal line. The line ascends in pitch. The guitar riff comes back down in interesting counterpoint. I don’t know if South had a chance to listen beforehand or ad libbed it on the spot, but it is splendid in its appropriateness and effectiveness. Session people can bring nuances to your works you might never have thought of. On the other hand, they can bring the same old same old, so you have to know the difference, and be diplomatic enough to communicate about it, patient enough to work with all involved, and rich enough to have the time to work on it. But you definitely want some other ears to give you their take on possible treatments. The difference can be phenomenal in its effect.
Gary makes some excellent points about sessionistas. Providing them with a chart or at least a copy of the basic instrument and vocal PRIOR to the actual recording date ALWAYS makes things easier for all concerned. Being able to communicate what influences ( recording artist sound, vibe etx ) you’re trying to attain is also part of the process.
When I planned my 1st CD, everyone told me to make it as “natural-sounding” as possible. When I asked them what they meant, they were saying “don’t use people you hadn’t met, session-players,” etc.
But I knew they were wrong. I wanted my CD to be the most suoperb i could make it, so I got a top-notch producer (Nick Holmes) and superb players (some of whom I already knew as friends, anyway.)
The result was that my first CD has been highly complimented by everyone who’s heard it. Furthermore, an acquaintance whose job is to log-in members new CD’s at a performing rights organization (and who listens to thousands of songs a year!) said that my CD was among the best produced he’d ever heard from an indie artist.
Hooray for session players (and pro producers!)
Leigh Harrison
You always get what you play for and pay for when it comes to a finished product you can be proud to peddle.
I am a session drummer who also writes. Everything in the article is the absolute truth. One of the biggest problems musicians, writers, performers have is realizing their limitations. Some music styles I play very well, others I do not. I realize that and don’t take those sessions. As writers we need to know that we write well and leave the music to those who have all of the attributes mentioned in the article.
