Cliff Notes
Don’t forget to take good notes. It will be hard for everything to stick in such short time. You’re going to want to have reference for the future.
At first, I strongly suggest gearing yourself toward styles of music you’re into. It’s a big sea out there. Although learning things about jazz tone is great, it’s not an immediate necessity if you play straight-up rock. This means you have to find the right teacher. Make sure the teacher is a specialist in the style you’re researching.
Think about the bands you like. Inquire of your teacher some of the basic ingredients that music requires. Again, it’s not about you becoming an amazing musician. You’re not going to perform.
Bang On
Drums have so many variations in sound, way more than most people are aware of. They are very sensitive to the area in which you hit them. In the center? Off to the left a little? Off center a lot? Velocity also greatly varies the sound of the drum.
You should also learn some basics about drum tuning. The days of big budgets where a drum tech would be hired for a session are long gone. You’re on your own now. If something isn’t sounding good, you need to be the one to fix it. Drums too ringy? There are ways to dampen them. Sitting down with a drum instructor can give you a lot of the insight you will need.
Whether you “butt” the hi hats or “tip” them makes a huge difference in vibe. For instance, you’re not going to get that amazing Al Jackson Jr. tone butting the hats and hitting hard in the center of the drum.
See how this knowledge can help you to direct musicians in a session? You’re basically giving the co-ordinates on a map. They can follow the guidelines to the destination. You’re just telling them where the landmarks are.
Big Bottom
What kind of strings you use is a common discussion for bass. Bassists who like a more modern sound use roundwounds. People who like old Motown, New Orleans funk and the Beatles love flatwounds. There is a huge difference in tone.
Where you strike the bass string is also (you guessed it) — IMPORTANT! I can write a book on all these variations, but the point is not to know everything. Just have enough direction to help get you to your destination. Think of it as having just enough bus fare to get you to there.
Some bassists place foam beneath the strings to deaden the sound a bit. How much and where do you place it? Ask your doctor, er… teacher. In your next session, you’ll not only be able to diagnose bright bass syndrome, but write a prescription for the cure.
Knowing these subtleties will save you time down the line. You will need less plug-ins and not feel the need to fiddle as much. It’s near impossible to get those sounds back once you’ve recorded them.
Strings Attached
Are you going to be recording a lot of strings? Study with a violinist or cellist.
One thing it’s good to know when working with string players is that they play sharps and flats a little bit differently. Since it’s not a fretted instrument, the mind takes over intonation. Sharp is usually a little higher then a flat (hence the rem sharp).
For instance, C# and Db are not the same note. This is important in a session when you are either making a chart or communicating out loud.
Taking lessons can be a quick or cheap investment, but it’s one that can really help you in the future. Reading about the differences are just not enough. Seeing it an hearing it in front of you are more valuable then I could ever explain.
Mark Marshall is a producer, songwriter, session musician and instructor based in NYC.
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