This is a new feature that we will be running over the coming weeks which is aimed at those of you who aspire to and indeed are currently working in the studio situation.  We hope to offer some tips on hoe to get session work in the studio and what to expect and what is expected of you once you land the job.  We have asked some of the top studio drummers/percussionist around today to share some of their invaluable experience with us to help you along.

Over the years I have been booked to play in variety of different studio situations on singles, albums, jingles, backing tracks and demos.  The requirements for each job has varied from full kit to  hand percussion or maybe just a snare drum and hi hats. I could be asked to read charts or just use my ears, play with a click or without, be told exactly what to play or have the freedom to put my personal “stamp” on the music.  One question I am often asked by my students or on workshops surrounds the use of a click. Some say that using a click hinders their playing and they prefer not to use one. I would suggest that the only reason it may hinder their playing is because they may have used it enough or correctly to be able feel comfortable with it.  In such circumstances you may be reducing your options for work and if you want to work in the studio, you must be flexible.  We asked some of the guys who, between them, have done 1000s of albums and film scores for their advice on the subject.

Is a click necessary in the studio?

RALPH SALMINS (Robbie Williams/Tom Jones/Van Morrison)
These days a click is used in 98% of the recording situations that I encounter. A click track is necessary for most commercial music situations because producers like to edit takes together and pick and choose sections from a performance after the session is over. In order for this to happen, there must be accurate consistency in the tempo of the song from start to finish. A click will also even out the feel of a song so that it ends at the same tempo as it begins...a modern sound that listeners are now accustomed to! In the long run however, a click is not actually necessary to create a track that feels good!

DAVE MATTACKS (Fairport convention/Chris Rea/Jimmy Page)
First off, a click is not essential.  But “contemporary popular music” (whatever that is) is increasingly made with it .  My advice is to learn how to work with a click. I bought  small which I take to al sessions with e.  I’ve programmed a lot of patterns into it using a variety of tempos using shakers tambourines, cross sticks etc., to give me some listener friendly groves to play along to.  Anything is better than the dreaded four-to-the-bar cowbell (the spike through the ear!) 

The other players appreciate this too.  Even if the click is already on tape , it should be feasible to trigger your machine.   Your patterns need to have (depending on the tempo) 16th notes (triplets or otherwise) in the grooves to keep you locked in.  Think of and work with the patterns as if they were accompanying percussionists.  Its also important  to decide early on what to listen to  - if you’re primarily after drum tracks (with other players replacing their parts later) you don’t need the entire band in your headphone mix.   Politely request a separate ‘phone mix with the with the click/pattern at the op of the mix with only the essential other items in there.  I never have the drums in the mix, I can feel what I’m doing.  The less information in the headphones the easier it is to hear the essentials. I’m aware that this isn’t possible and in such circumstances, just having on ear in the cans and the other listening to what’s happening in the roon can help.

Any tips on how to work with a click?

CHARLIE MORGAN (Elton John/Paul McCartney/Bjork)
If you have access to a MIDI drum machine or sequencer, try programming a nice, flowing percussion feel.  That way, you are less likely to FIGHT the click.  The biggest problem with playing to a straight click is you only know when you are OUT of time with it when you start flamming with it.  When you are perfectly in time with it, what you are playing often masks the click itself!  Believe me, it IS vital for any drummer who is serious to be able to play to clicks in the studio as so much is now sequenced, looped and tweaked

RALPH SALMINS
Practise with a metronome as much as possible and become accustomed to playing with headphones on. If possible, run the click track through the cans. Mess around with it until you and the click make friends. Then stick together like glue! As your relationship develops, then get a little looser with your newfound pal and take a few liberties by pushing or pulling the time around. The click will be your “Rock” to be relied upon!  Oh and concentrate!

JASON BOULD
I find that to get completely comfortable with playing to click there are two rules I follow. Firstly, Is it loud enough? If you are wearing cans then the likely hood is you will have to have the click reasonably loud, as cans to let in a lot of external noise. If you wear in-ears like the Shure E5's then a high volume won't be as important. Whichever earpiece you choose, the second most important factor is what type of sound the click is. If it's a harsh wood block playing quarters then it's not going to be very inspiring for feel. So ask the engineer to program a tambourine playing sixteenths under the quarter note, and get him to accent the quarter note every four. Another rule is, if the temp of the song is 120 bpm or over, then I think quarter notes work better than eighth notes for the click. Under 120bpm and eighth notes work better.

What do you think makes a good studio drummer?

GEOFF DUGMORE (Nic Carter/ Appleton/ Crowded House)
There are many reasons that would / could make you a good studio drummer. The first and foremost in my opinion is personality. If you don't have that your up against it from the start. Enthusiasm is essential and I'm talking the real deal not fake as people see right through that in a moment. We are talking a passion for music an understanding of music an understanding of
people. It goes without saying you can play your instrument but make sure you come to the session well equipped. For example I take 15/16 snare drums 100 plus cymbals 22/24/26 kicks 5/6 toms a cocktail set a percussion set up my v-drum set up you just don't always know what you might need.  In other words BE PREPAIRED. It’s vital that you are on time and your drums are tuned well (try tuning the snare to the key of the song you would amazed how big a difference that can make.) Make sure your cymbals suit the song and be able to come up with great ideas in a flash. Be able to cut the tracks fast.  People are hiring you to come with the goods fast and execute them fast. In this day and age it's commonplace to cut 10/15 tracks in a day if needed so you have to have your stuff together. I think it is also important to be able to play other instruments so you have a concept of what everyone else is doing. And always remember to LISTEN.

In Part 2 we will cover how to get into session work. If there are any questions for the guys please send them to info@mikedolbear.com and I will forward them on for you.

Mike

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