M
moresound
Loud Sun Studios
Oh, and being a session musician is how Jimmy Page got his start......and look at where that got him. 
kidkage
Bored of Canada
Oh, and being a session musician is how Jimmy Page got his start......and look at where that got him.
Who's Jimmy Page?
kidkage
Bored of Canada
Im only joking 
kidkage
Bored of Canada
So, if I want to learn how to read music on the drums how would I go about doing that?
M
moresound
Loud Sun Studios
Google it up! and edgamacate yourself.
Not only do you have to read music ....you have to be good and fast at reading the charts! No practicing , just BOOM play it like you wrote it.
Most secessionist say that it's a very boring job. 1 in 30 will be a song that they are in to and feel good about doing.
M
moresound
Loud Sun Studios
(
laughings
) HA HA HA HA (laughings) I thought about that when I posted.You know there just may come a time.
D
dintymoore
Guest
The best thing would be to get together with someone, a friend or maybe a teacher and get some basic "how to read music" theory. I used to teach drum lessons and the book I started everyone out in for basic reading was this: http://www.amazon.com/Ludwig-Drum-Method-Book/dp/B003THP75E
That book covers your basic reading for snare drum.
But you really need someone to show you what's up with it i think... I wouldn't think a book by itself would help.
Basic reading on drums is similar to reading piano or trumpet except for the pitches of course, so a person that can read could help you even if they didn't play drums. I played drums for several years before my mother arranged some piano lessons for me.
I just did a YouTube search for "how to read music drums" and as could be expected, there's videos there.
Maybe that's good enough.
kidkage
Bored of Canada
(
You know there just may come a time.
Here's a story for you:
This past school year we had to do a lyrical interpretation on a song our english teacher played. That song was Stairway to Heaven. Me, the teacher, and 1 other person were the only people who knew it, 3 people in a room of 30. They said the "singer sucked"- from a person whos favorite band is paramore, "it sounds gay" - from a girl who is the biggest nick jonas stalker and didnt know who adolph hitler was until we were in the 10th grade, and "theyre really bad, they kept getting slow and fast" - from a straight A student.
Also, the only reason they know who "the who" is? the "gay" band that played at the superbowl.
For the most part what my generation perceives as music is the crap that they're fed through MTV, so eventually I fear there will indeed be a time where Jimmy Page and people like him are forgotten by the masses, and that really does sadden me, because not only is it a homophobic, largely apathetic, cookie cutter generation, it's a generation that listens to the shittiest music in the world... and prefers watching "Superbad" over "Heat"
Last edited:
M
moresound
Loud Sun Studios
It is times like those that you need to stand on your desk and yell at the world to wake up.
It kind of help with me but that was in the sixtys .....different time, different issues.
It kind of help with me but that was in the sixtys .....different time, different issues.
R
RAMI
Guest
OK, so let me get this straight.....
You don't play anything yet. You can't decide if you want to play guitar or drums (or bass, because you think that it's easy
)
And you're asking about becoming a session musician.
How about we learn to crawl before we even think about sprinting in the Olympics????
I respect the rest of you for being curtious enough to try to help the OP, but this is absolutely fucking stupid.
You don't play anything yet. You can't decide if you want to play guitar or drums (or bass, because you think that it's easy
)And you're asking about becoming a session musician.
How about we learn to crawl before we even think about sprinting in the Olympics????
I respect the rest of you for being curtious enough to try to help the OP, but this is absolutely fucking stupid.
Yonce N Mild
Voice of Sanity
You don't play anything yet. You can't decide if you want to play guitar or drums (or bass, because you think that it's easy
This sounds to me like he plays guitar and messes around with drums. I did lol at the bass player part. Guitar players who play bass play bass like guitar players. It's not as simple as people think to be an exceptional bass player.
grimtraveller
If only for a moment.....
True. Possibly most of the bassists that really helped push the bass guitar on in it's development during the 1960s were not initially bassists. I think the 70s was when people really started thinking in terms of being a bassist beyond anything else.
I remember Lemmy once describing himself as a frustrated lead guitarist. I don't think he does but too many guitarists approach bass that way and sound amazing in and of themselves, but miss the point.
As to the OP, all I can say is that dreams and aspirations are good to have - but far better to realize. And so much harder. So work hard so that your reality overtakes your aspirations.....
kidkage
Bored of Canada
OK, so let me get this straight.....
You don't play anything yet. You can't decide if you want to play guitar or drums (or bass, because you think that it's easy
And you're asking about becoming a session musician.
How about we learn to crawl before we even think about sprinting in the Olympics???
I respect the rest of you for being curtious enough to try to help the OP, but this is absolutely fucking stupid.
I see how it can be confusing, so let me clear this up . I'm a guitar player, and I've been playing guitar for four years now. Bass for 3. For the past 2 years after realizing no one around me gives a shit, I bought a drum kit, a bass, and a tascam and went to work 
. I've always been curious about session musicians, as they are interesting creatures.
But lately I've been considering pursuing a life as either a session bass player, or drummer.
Bass - not because I think it's easy, I know it's not, I'm no Victor Wooten , but I figured that as a session player I wouldn't need to write stuff, I just need to be able to read and play it. And also, most people that need a session bassist arent exactly Dream Theater.
Drums- kind of the same thing that I said up there ^
The reason I'm not interested in being a session guitarist is because there's no shortage of people who play guitar, and it's kind of a personal thing for me, and bass players and drummers are needed more
btw Im asking not because I driving to L.A tomorrow to try to play on the next Taylor Swift record or something ridiculous like that, I'm just curious
Like he said, I want to thank all of you for helping me out, and not ostracizing me for me n00bness.
Seriously, I'm grateful for all the help, this is the only place I can get it, so thanks a lot
Last edited:
kidkage
Bored of Canada
I just did a YouTube search for "how to read music drums" and as could be expected, there's videos there.
Thanks for that btw, I must've missed it earlier
Armistice
Son of Yoda
Your at work doing this Armistice? Dam I should have a job like yours ....working for the man. Sitting around joking around on HR. What a life.
edit ....as of now your count is 1005.
Psssssss (I just talked to your boss on the phone .....he is standing right be hind you now watching you here on HR)
Yeah.... it's been a bit quiet of late and no-one knows what I do anyway... so been posting a leeeetle bit more than I otherwise would... thing is, being in Aus, when I'm at home and have time to post, everyone's asleep! No fun at all!
BTW... my boss is a woman! And one who's 17 years younger than me, and I love working for her. A truly cool chick...
But now I have some real work to do! Away.....
misterlong
New member
session musician right here
hey
I have been a session musician for the last 17 years, in as much as that was the first time I got called into a studio and paid for the job.
I started playing trombone aged 6, studied classically until I was 18, played in orchestras and got paid for doing that from the age of about 13.
I started playing in bands aged 18 plus, and eventually joined one which made a name for itself. People saw us playing, and liked our style. We got small record deals and recorded a few records that were released. I got used to the very different skill of recording rather than playing on stage, and it really is a very different skill. I also got used to the discipline involved when you are paying £1000 a day in a commercial top flight studio! No mucking about. It was all neve and 2" tape back then for me!!
We (the horn section) got known as one of the tightest sections around and started getting invited to play on other people's music.
We as a section and I individually started getting more and more sessions, through word of mouth, recordings going public and affiliations with local studios (I was the go-to man in a number of studios to sort out horn players when requiired by out of town clients).
Things have continued that way in a number of cities around the world, and i have racked up a large number of pretty decent credits, and made my living as a session player (both being hired to play studio sessions and live tours) for a number of years.
So in brief:
Be the best player in town practice like mad!! noone is gonna pay a mediocre player. you gotta be amazing. You will get one chance to be bad and that is it! and then......
Be seen play out! noone gonna realise you are a genius if you sit in yer bedroom/studio all day
Be the most professional player in town Always be early for sessions so that you can clock on ready to play at the time specified. Always answer calls proptly, return correspondence.
Have the best sounding gear that works right from the word go (no mucking about on someone elses time trying to make your gear work!) again you will get one chance!
Be the most approachable dude around You gotta get on with people. No room for divas in the session world. You will not be asked back!! One artist I was working with decided to go with a mate of mine on drums (he is awesome but..) rather than Steve Gadd because he was playing up! she also sacked the string section cos one of them farted, but that is another story!
Put the hours in: when I first started recording, I did a load of stuff for free, on the promise of payouts when it got signed or whatever (yeah right, never saw any of that!) but to be honest, I was a good player, but did i deserve £100 an hour, NO! I learned a lot from those early sessions about working with different bands/producers etc.
I have now paid my dues and I am worth that.
Hustle like f*/k People who are making good records, let them know that you have something different to offer (you have to have something to offer mind you!!)
Have something different to offer What makes you any different to the others. Rep? maybe, good looking (on stage)? maybe, interesting sound/setup? what is it?
Make yourself as useful as possible I started learning latin percussion about 15 years ago because i wanted to, but also to make myself more useful on stage and in the studio. I have been playing session percussion for 7 or 8 years now. Killing 2 birds with one stone for the producer! i would however agree that you need to be a master of one instrument rather than a jack of all trades.
Musical knowledge I write/arrange parts too. I can therefore write myself into a job if I feel like it and I normally do!! That is something else to offer the client
I am a trombonist, and i realise there are probably a hell of a lot more guitarrists around than trombonists. You will have to be very very very good for someone to pick you over their own average strumming!
I have never seen a guitarrist reading music in a session, and only seen a drummer reading once and that was a hardcore jazz fusion type session. Bass players never!! That does not mean to say that learning would not be a good idea. Horn players, pianists, string sections always, but then you don't play those things.
so get yer ass off here and practice your little tush off!! the first weapon in your arsenal has to be that you are the best!! then the work will find you!!
Right!! off to record the opening credits to a Cartoon series then a jazz gig tonight and some deep house percussion in the morning.
long
hey
I have been a session musician for the last 17 years, in as much as that was the first time I got called into a studio and paid for the job.
I started playing trombone aged 6, studied classically until I was 18, played in orchestras and got paid for doing that from the age of about 13.
I started playing in bands aged 18 plus, and eventually joined one which made a name for itself. People saw us playing, and liked our style. We got small record deals and recorded a few records that were released. I got used to the very different skill of recording rather than playing on stage, and it really is a very different skill. I also got used to the discipline involved when you are paying £1000 a day in a commercial top flight studio! No mucking about. It was all neve and 2" tape back then for me!!
We (the horn section) got known as one of the tightest sections around and started getting invited to play on other people's music.
We as a section and I individually started getting more and more sessions, through word of mouth, recordings going public and affiliations with local studios (I was the go-to man in a number of studios to sort out horn players when requiired by out of town clients).
Things have continued that way in a number of cities around the world, and i have racked up a large number of pretty decent credits, and made my living as a session player (both being hired to play studio sessions and live tours) for a number of years.
So in brief:
Be the best player in town practice like mad!! noone is gonna pay a mediocre player. you gotta be amazing. You will get one chance to be bad and that is it! and then......
Be seen play out! noone gonna realise you are a genius if you sit in yer bedroom/studio all day
Be the most professional player in town Always be early for sessions so that you can clock on ready to play at the time specified. Always answer calls proptly, return correspondence.
Have the best sounding gear that works right from the word go (no mucking about on someone elses time trying to make your gear work!) again you will get one chance!
Be the most approachable dude around You gotta get on with people. No room for divas in the session world. You will not be asked back!! One artist I was working with decided to go with a mate of mine on drums (he is awesome but..) rather than Steve Gadd because he was playing up! she also sacked the string section cos one of them farted, but that is another story!
Put the hours in: when I first started recording, I did a load of stuff for free, on the promise of payouts when it got signed or whatever (yeah right, never saw any of that!) but to be honest, I was a good player, but did i deserve £100 an hour, NO! I learned a lot from those early sessions about working with different bands/producers etc.
I have now paid my dues and I am worth that.
Hustle like f*/k People who are making good records, let them know that you have something different to offer (you have to have something to offer mind you!!)
Have something different to offer What makes you any different to the others. Rep? maybe, good looking (on stage)? maybe, interesting sound/setup? what is it?
Make yourself as useful as possible I started learning latin percussion about 15 years ago because i wanted to, but also to make myself more useful on stage and in the studio. I have been playing session percussion for 7 or 8 years now. Killing 2 birds with one stone for the producer! i would however agree that you need to be a master of one instrument rather than a jack of all trades.
Musical knowledge I write/arrange parts too. I can therefore write myself into a job if I feel like it and I normally do!! That is something else to offer the client
I am a trombonist, and i realise there are probably a hell of a lot more guitarrists around than trombonists. You will have to be very very very good for someone to pick you over their own average strumming!
I have never seen a guitarrist reading music in a session, and only seen a drummer reading once and that was a hardcore jazz fusion type session. Bass players never!! That does not mean to say that learning would not be a good idea. Horn players, pianists, string sections always, but then you don't play those things.
so get yer ass off here and practice your little tush off!! the first weapon in your arsenal has to be that you are the best!! then the work will find you!!
Right!! off to record the opening credits to a Cartoon series then a jazz gig tonight and some deep house percussion in the morning.
long
grimtraveller
If only for a moment.....
M
mindrought
New member
Before you attempt a career as a session player, read this.
Keep in mind, back when analog recording was all we had, studio musicians, even the best ones were starving. That was before computer-aided recording and non-linear editing. Now, you go in and if you're remotely close on the first take they go to the next song and you're done in a couple hours. They can fix timing issues after you leave (while you're NOT getting paid). In other words, it's not the most lucrative career choice. You're much better off trying to get a recording/mastering studio started and making a go of that.
Just sayin'...
I know an engineer that worked with the drummer from blue oyster cult (Bobby Rondinelli) and his pay rate was $5000/week, but keep in mind he's been playing for 40 years and can play anything. That sounds like good money, but unless he works all the time, it really doesn't add up to very much. Plus there's no health insurance, benefits, yada yada...
Not tryin to pee in your pond, just proceed with caution...
Keep in mind, back when analog recording was all we had, studio musicians, even the best ones were starving. That was before computer-aided recording and non-linear editing. Now, you go in and if you're remotely close on the first take they go to the next song and you're done in a couple hours. They can fix timing issues after you leave (while you're NOT getting paid). In other words, it's not the most lucrative career choice. You're much better off trying to get a recording/mastering studio started and making a go of that.
Just sayin'...
I know an engineer that worked with the drummer from blue oyster cult (Bobby Rondinelli) and his pay rate was $5000/week, but keep in mind he's been playing for 40 years and can play anything.
That sounds like good money, but unless he works all the time, it really doesn't add up to very much. Plus there's no health insurance, benefits, yada yada...Not tryin to pee in your pond, just proceed with caution...