-
How does Vinnie get hired for a pop session? Who decides on whom? The Producer...? Does he or a Porcaro only work through major labels and then it trickles down from there from one of "my guys" to "your guy?"
I once walked into a studio in North Hollywood and Rayford Griffin was doing a session for an unknown pop/punk band. I was in awe of a drummer the other guys didn't know a thing about. Hilarious! They had no idea what the "JLP" meant painted on all his cases.
<font color="#a62a2a" size="1">[ February 02, 2004 08:24 PM: Message edited by: PocketPlayer ]</font>
-
I would have thought that it would be purely word of mouth, I doubt very much if Vinnie has an agent who gets him work so to speak. He and guys of his calibur have built up such a reputation that a producer, writer or artist would specifically demand that they are on a session. I would also think that it is because he/Porcaro/Gadd etc have their own unique voice on the instrument, so instead of simply hiring a generic session guy, they are hired for their sound.
I could be utterly wrong of course! Anyone....? Randy.....?!
-
Speaking of session drumming, how does one get into that business? How do you get your name out and get the experience for people to WANT to hire you?
I think I remember there being a topic on this before, but I couldn't find it, so I'm sorry if it's a repeat.
-
Well Manos I would say that again, it's a case of building a reputation for yourself. It goes without saying that you have to be able to read to a very high level as you never know what will be put in front of you on a session. You could get a simple bar chart, mapping out the form or a complicated part with every single hit notated on specific drums. Your time must be solid and you must feel extremely comfortable working to click. These skills you can hone before you get into a studio situation, but once there, you then have other skills which come into play. Being able to work with a producer, have the ability to interpret what is meant even if what you are being told is extremely vague !), to have patience, humiltiy, creativity, to be able to concentrate 110% and to get the job done while being humble and respectful to the music. If that means playing virtually nothing except the simplest rhythm then so be it. All it takes is one ridiculous fill out of context and a producer will never call you again. The ego can NEVER get in the way of the big picture. Let's face it, if you're booked to record incidental music for a thriller for example, all the blushdas and triple flamadiddle diddles in the world won't help to play a simple part with good dynamics, time and feeling!
As far as how one gets there, it's the old thing of who you know. Personally speaking, I am now starting to get called for more sessions here in London and am meeting producers, writers and fixers who are getting me work, but this is a very slow build up and has taken me years of playing with people, doing all the sh1t functions, shows, cruises and summer seasons! The thing is that whatever the gig, I have always read (music) and treated each playing situation as an oppurtunity to focus like mad and (hopefully) nail everything first time.
If one has a good attitude, is passionate and genuinly cares about music, this will come across to other players and it follows that like minded people will want to play with you and hire you.
As I said in my last post, apart from the skills I have mentioned, a good session player will have an all encompasing knowledge of styles and will 'know the music' and respect it, whether playing drum n bass, Count Basie style big band, samba or whatever, as again you never know what will come up on a session you're booked on.
<font color="#a62a2a" size="1">[ February 02, 2004 10:30 PM: Message edited by: Dazzler ]</font>
-
Here are some audio interviews with JR Robinson Vinnie and Simon Phillips talking about sessions.
-
I'm not sure about now but this is a direct quote from Vinnie in a '91 Drums and Drumming interview:
D&D: Do you manage yourself?
Vinnie: Yes.
D&D: Would you suggest that other drummers do the same?
Vinnie: Sure, unless you have delusions of being some star and you want to pay a manager a certain percentage. I mean, you're going to get a call from a service, or producer, or contractor, and then you book yourself on a date. What do you want a manager to do? He's not going to go out and find you more work or anything-at least, not in a session situation. In this business, it's word-of-mouth and contractors. It's a lot of work for me to do it myself, but I feel that I have to deal with these people personally to find out what I'm in for.
-
In the cases of Faith Hill and She Daisy it seems that Dan Huff likes Vinnie, enough to let him get away with sextuplet double-bass fills on a country tune... http://www.hostboard.com/forums/
Good informative post Dazz. Studio work is what I love the most but I don't get to do as much as I'd like. Which is why I'm trying to build my own studio. It is getting there though, and I have experienced many of the things you've mentioned along the way.
-
Getting hired for a session is about meeting and making contacts. Getting the trust of a guy whom produces, then that said producer knowing you are the fit for any projects coming his way in need of drums.
You need to have a handle on your drum sound and cymbal choices, a great set of ears. Basically knowing that your 22"RUDE paiste ride would not work well and going for the 21"dry instead on a country ballad. Being able to tune is the MOST important thing a producer or engineer look for in a new guy. They don't have the time to sit and wait for you to get sounds, they want it up and ready to go.
-
Here is a link to a good interview with Russ Miller...In case anybody doesn't know, Russ Miller is one of the most famous and busy session drummers alive today:
http://musicians.about.com/library/weekly/aa032701a.htm
He gives some good advice in this interview about alot of different aspects of being a musician...check it out!!! BTW, his Crash Course in Drumming series is spectacular for anybody that wants to learn how to play whole bunch of different styles....I have the book, does anybody have the video....if so, any opinions on it????
