Mr. Fanzy Pants
Member
Just out of curiosity, how much do you guys think that session aces like John "Jr" Robinson, Vinnie Colaiuta, Jim Keltner, Josh Freese, Chris McHugh etc are getting paid for doing a record or a gig?
FP
FP
A lot of pros can negotiate their rates, and those rates vary. Some charge a flat fee per day, $1500, $2500, or more... it varies. Others charge per project, basically an album's worth of songs.
There's also union scale, which in Los Angeles is $380 for a 3 hour session that includes up to 15 minutes of music, basically 3 or 4 songs. And top players command double and triple scale.
So, let's say that one drummer charges a flat rate of $2500 a day for his time in the studio. Another drummer is triple scale, $1140 for every 4 songs. Another charges $10,000 for the whole album, 12 songs. All scenarios sound attractive, and on a regular basis, they all represent a good income.
If each drummer cuts 8 tracks in one day, and 4 tracks the next day to finish all 12 songs, the triple scale guy will make $3420, the daily flat-rate guy will make $5000, and the project-rate guy will make $10,000 for his two days' work.
But, rates are negotiable, some are higher, some are lower. And depending on the economy, some drummers have to lower their rates so the producer doesn't dig up some hotshot kid who'll do the sessions for next to nothing.
Bermuda
Very interesting stuff, Jon and Bill.
Bill, have you noticed any common qualities of the ten or so chosen ones - the flavour-of-five-years players? No doubt they will tick all the obvious boxes - great time, sound, control, reading, quick on the uptake, reliable, amenable, flexible, tech literate etc.
Or do they tick the boxes at a higher level than the majority of the other 4,990 or so would-be sessioners?
I think what Bill means is that there are essentially five drummers getting all the gigs at one time because of 'formula thinking'. If I've read this right, you could have a player that gets a session and the album or song that that particular drummer plays on might become a hit or a success within or outside the scene. People want to emulate success, so they hire the same musicians thinking that it was those players that made the album successful and then that player might then get hired on reputation rather than any inherent higher ability.
This tails off after a while when that success isn't repeated.
I hope that's what you mean, Bill!
I'm okay with that bit Duncan, but if a drummer isn't "in", how do they get to play on a hit in the first place? I'm thinking about chicken and eggs ...
Bermuda: If I`m not wrong Abe Laboriel Jr is touring with Paul Mccartney and Sting and has played on some huge selling records. Is he the up and coming both studio & touring drummer in the LA scene these days? And is being on the road with artists like PM and Sting very well paid?
Then one day the session drummer has car trouble or gets sick, at which point you say, "hey, I play drums!".
Bill, correct me if I've misunderstood.
I think what Bill means is that there are essentially five drummers getting all the gigs at one time because of 'formula thinking'. If I've read this right, you could have a player that gets a session and the album or song that that particular drummer plays on might become a hit or a success within or outside the scene. People want to emulate success, so they hire the same musicians thinking that it was those players that made the album successful and then that player might then get hired on reputation rather than any inherent higher ability.
This tails off after a while when that success isn't repeated.
I hope that's what you mean, Bill!
That is how I took it too.
It happens. Producers get it in their head they must have player-x, and that's pretty much it.
I've known guys who went to an audition, got the gig, everything looked roses, and then the call comes that management or the producer wants a name player for the album/tour, so sorry, you're out.
Getting a break is an oft-discussed subject, and in a nutshell, it boils down to being in the right place at the right time. There's no way to engineer or create it, you just have to be ready if and when it happens.
So, I truly believe that if you get your drumming skills and your personal skills together, you'll find some way to have a life in music. This doesn't mean you'll be famous.
There is a myth floating around that the world is full of incredible drummers who just never "get a break." If this were really the case, then we would all know a drummer or 2 who fit that description.
Sadly, I know far too many drummers who have the passion, the gear, the look, the chops (and the wisdom to use them judiciously) but can't keep busy enough because they haven't been able to take the next step. It simply hasn't presented itself. They haven't been in the right place at the right time, and it's not their fault.