Recording - April 2012 - 72

Be prepared It is important to make sure the arrangements are solid and the tempos are settled before the drummer gets there. Knocking out a great take only to realize the tempo was wrong can sap the drummer’s energy and waste your time. Even worse, if it happens more than once the drummer may start to subconsciously hold back, not willing to fully commit until he/she is sure you have your side together. Being prepared will give your drummer the confidence to nail it right from the get-go, and save you time and money too! His drums or yours? If you have a “House Kit”, tell the drummer to bring his/her cymbals and a couple of snare drums. Though it isn’t as important with the toms and bass drum, tone variety is nice with cymbals and snare drums, especially if you are recording multiple songs that will be released together. Some drummers will want to use their own stool and/or bass drum pedal. Great.

Guest editorial by Steve Bowman

Do You Need To Hire A Studio Drummer?
As the old adage says: You can get it fast, good, or cheap... pick two. Nowhere is that more applicable than when hiring a session drummer. Sometimes you can get a pretty good drum track on a shoestring budget. Sometimes you can get a decent take from an inexperienced player. And sometimes you can afford to keep trying until you get a drum track you are happy with—no matter how long it takes! You can keep yours to the side for backup. Have a nice pair of full enclosure head phones, a solid music stand, and a drum key on a string tied to something in the room so nobody walks out with it. To feed or not to feed You are under no real obligation to feed the musicians in your studio. But if you want those good tracks and good times to keep coming, you should make sure everyone has access to lunch and dinner, whether you order out, cook yourself, have the session catered, or take breaks to go out for food. All the options have good and bad sides. Catering will save time and cost money. Cooking will save money and cost time. So you’ll have to look at each

You can get it fast, good, or cheap... pick two. In drum sessions, sometimes you can get a pretty good track on a shoestring budget, or you might get a decent take from an inexperienced player, or you can afford to keep trying, no matter how long it takes...
But if you spend very much time writing and recording, you may eventually come up with a song that needs a big, strong drum performance, or a really subtle feel, or that has to be “in the can” before the horn section arrives at noon! Eventually, you may decide to call on the services of a pro. Here then is what you need to know when hiring a session drummer to come to your studio. Session drummers—the give and take Session drummers come with all different skill levels and specialties but, as professionals, are generally assumed to have experience taking direction, playing in time, getting good tones, trying out your ideas, providing their own, and getting solid tracks in a minimum of time. Most session drummers can hear a song once or twice, make a chart, and nail the track in one or two passes. Sometimes the third take is “the keeper” but that’s usually all you’ll need.
72
RECORDING APRIL 2012

situation separately. Just realize that when it comes to meals, everyone is at your mercy, and that weak and edgy players can’t give you their best. Even on shorter dates, keeping people comfortable with light snacks, bottled water, and a coffee machine will assure that you get as much work done as possible. All that and money, too? Payment varies and is up to the musician to negotiate. I base my rates on the number of songs, amount of time, who is paying for the session (private demo? major label master?), and if I have to load my drums or not. Ask drummers what their rates are and if they prefer to be paid by the song, by the day, or by the session. (Sessions are defined as three hours.) They say that when the drum track is solid everything else sounds intentional. That’s true. If you have a song that you think might be good enough for radio airplay, or a TV/movie placement, or to be cut by an established artist, or a song that may attract a manager, lawyer, or generate label interest, it might be time to hire a professional session drummer. Steve Bowman (bowman@recordingmag.com) was the original drummer for Counting Crows, playing on the album August and Everything After. He now lives in Nashville and has worked as a session drummer and live performer with artists like Sarah Buxton, Kim Richey, Greta Gaines, and Big Kenny, with whom he currently tours and records. Learn more at www.stevethedrummer.com.

http://www.stevethedrummer.com

Recording - April 2012

Table of Contents for the Digital Edition of Recording - April 2012