Young Drummer looking to begin session work

danplaysdrums

danplaysdrums

Member
Hello All.

I'm Daniel, I'm 13 and have been playing for 7 years. I can lock in solidly with the click and can play all styles. I am a decent sight-reader with good knowledge and experience of drum theory and reading drum charts.

I'm looking to start doing sessions in my local area (Nottingham,UK), and I was just asking for some advice from some more experienced drummers than myself. Are there certain things I have missed out during practice that are important? Is there one simple concept that will suddenly improve my drumming or is it just consistency and punctuality that set apart the good drummers from the bad?

What ways would you reccomend I "get myself out there"? Any tips for networking or working my way into the industry?

Thanks in advance for the advice, I respect all of your musicianship and love for drums

Dan x
 
1) You are 13. That is young.

2) Just start going through books, if the book is widely regarded as great, and you haven't bought it, buy it.

3) Advertise yourself. Post videos of yourself online and get a home page. You may also want to call local studios that you can get to easily and inform them of your existence as a studio drummer.
 
First off, being a decent reader doesnt mean much. There are lots of decent readers in the world. Not as many great ones. Fewer phenoms. So work your ass off and be a PHENOM, a machine, unrelenting perfection. You dig?

If I were in your shoes (and at 13, you got some SERIOUS time to get stuff together, dont stress) I would try and get at least a few lessons with someone who does this for a living. Im not saying to get your foot in the door or anything like that (though it could come about as a result), but more to understand what youll actually be doing. Time is money in recording studios. You need to be able to nail things in one take. Theres a very very very real possibility that when you show up to the studio there WONT be ANY chart, so even decent reading doesnt help you there.

I took a couple very long lessons with Gregg Bissonette when I was about 16 years old. He hipped me to this: a lot of times when were talkin pop music studio sessions, a producer is going to play you a demo track of the song. Hes in all actuality not really gonna wanna play it more than once for you (time is MONEY), hopefully you can get a second listen, but theres no guarantees. Youve got one of two options in this situation. Sit there, be a complete and utter sponge, and memorize the song after hearing it only once (I cannot do this). OR, you can have your manuscript book and chart it as fast and accurately as you can in real time (remember, this is ONE or two times hearing the song). When Gregg Showed me this, his charting was PHENOMENAL. He was writing entire songs out as they were playing. Exact rhythms, hits, not even having to think about, just like a stenographer. Its incredible. He then said that if I wanted to get to that point, try this: Turn on the radio and try and chart as many pop songs as you can. You might not make it all that far before falling behind at first. But youll get better as you put in more and more of the work.

Now, Im no session expert, and Im not saying this happens all the time. But if I do get a chart, phew, what a relief, its a great day, I can just read the music. If not, you gotta be ready to throw down and on the spot because someone wants to take your place the second you screw up.

Session playing is a difficult industry to get into, no doubt about it, and its a dwindling industry (ProTools is amazing and horrible all at once). SO, good luck to you, hope to have provided some insights.

I also wanna add, there are some SERIOUS studio guys on this forum. Im sure they can enlighten far far more than I can.
 
brittc89 said:
First off, being a decent reader doesnt mean much. There are lots of decent readers in the world. Not as many great ones. Fewer phenoms. So work your ass off and be a PHENOM, a machine, unrelenting perfection. You dig?

If I were in your shoes (and at 13, you got some SERIOUS time to get stuff together, dont stress) I would try and get at least a few lessons with someone who does this for a living. Im not saying to get your foot in the door or anything like that (though it could come about as a result), but more to understand what youll actually be doing. Time is money in recording studios. You need to be able to nail things in one take. Theres a very very very real possibility that when you show up to the studio there WONT be ANY chart, so even decent reading doesnt help you there.

I took a couple very long lessons with Gregg Bissonette when I was about 16 years old. He hipped me to this: a lot of times when were talkin pop music studio sessions, a producer is going to play you a demo track of the song. Hes in all actuality not really gonna wanna play it more than once for you (time is MONEY), hopefully you can get a second listen, but theres no guarantees. Youve got one of two options in this situation. Sit there, be a complete and utter sponge, and memorize the song after hearing it only once (I cannot do this). OR, you can have your manuscript book and chart it as fast and accurately as you can in real time (remember, this is ONE or two times hearing the song). When Gregg Showed me this, his charting was PHENOMENAL. He was writing entire songs out as they were playing. Exact rhythms, hits, not even having to think about, just like a stenographer. Its incredible. He then said that if I wanted to get to that point, try this: Turn on the radio and try and chart as many pop songs as you can. You might not make it all that far before falling behind at first. But youll get better as you put in more and more of the work.

Now, Im no session expert, and Im not saying this happens all the time. But if I do get a chart, phew, what a relief, its a great day, I can just read the music. If not, you gotta be ready to throw down and on the spot because someone wants to take your place the second you screw up.

Session playing is a difficult industry to get into, no doubt about it, and its a dwindling industry (ProTools is amazing and horrible all at once). SO, good luck to you, hope to have provided some insights.

I also wanna add, there are some SERIOUS studio guys on this forum. Im sure they can enlighten far far more than I can.
Click to expand...
That's a real wake up story about Greg's charting ability. Wow, that takes some doing. Good to have you posting here btw, do you have any new stuff?
 
You can scope out a few studios and do an internship. You need to be where you wanna be. I know a guy who did this. He just hung out at the studio, kept all the drums tuned and did all the tech work. They eventually hired him full-time. Fast forward a few years, now he owns a successful drum business much like some of the others here that are giving you advice. The point is you'll be networking at the studio.

The key to life (coming from a 42 y.o.), is doing something that you enjoy doing for a living. I've been doing what I don't enjoy doing for the last 20 years and I feel like I let myself down. Follow your dream and believe in yourself.
 
brittc89 said:
I took a couple very long lessons with Gregg Bissonette when I was about 16 years old. He hipped me to this: a lot of times when were talkin pop music studio sessions, a producer is going to play you a demo track of the song. Hes in all actuality not really gonna wanna play it more than once for you (time is MONEY), hopefully you can get a second listen, but theres no guarantees. Youve got one of two options in this situation. Sit there, be a complete and utter sponge, and memorize the song after hearing it only once (I cannot do this). OR, you can have your manuscript book and chart it as fast and accurately as you can in real time (remember, this is ONE or two times hearing the song). When Gregg Showed me this, his charting was PHENOMENAL. He was writing entire songs out as they were playing. Exact rhythms, hits, not even having to think about, just like a stenographer. Its incredible. He then said that if I wanted to get to that point, try this: Turn on the radio and try and chart as many pop songs as you can. You might not make it all that far before falling behind at first. But youll get better as you put in more and more of the work.

\QUOTE]

Holy smokes, that is cool. I normally learn tunes for lives shows by one or two listens on the way to a gig, or in the car after set up, but I have been playing live for 30+ years, but charting like a sectretary taking shorthand, that is a whole 'nother level. Mad skills to do things like that.
Click to expand...
 
I think it's incredible that you're able to groove to a click at such a young age! Nice work! As a teacher, though, I'm aware that this skill doesn't exactly set you apart from the pack. Instead of thinking of yourself as a young drummer, think of yourself as a growing musician.

At 13, I think most would agree that your focus shouldn't be getting paid for work, but gaining as much varied experience as possible, including training on another instrument. Your listening skills will sharpen as you learn music in a new way, and nothing would make you more valuable to a recording studio than being able to play drums, and then pick up a bass or guitar and lay those tracks, too! Most working pros have thorough knowledge of another instrument (shoot, Gregg Bissonette studied at UNT, and has the ability to be his own horn section!). Knowledge of recording software and audio signal flow may also come in handy.

The charting skill is indispensable to the working pro. Although it's tough to believe, many calls for gigs (live or otherwise) usually involve learning a ton of material on very short notice, with maybe one rehearsal if you're lucky! Nailing an audition usually means playing the song perfectly on the first attempt (this get easier if you're older and have gone through the song-learning process many times). Learning a chart-making shorthand in order to get a song on paper in one listen is a great skill to acquire, and you can probably start practicing it now, but seek out an expert before you drive yourself nuts! I was lucky and met some guys who showed me a number of chart-making devices. Seek out the best of the best in your area, and take some private lessons specifically devoted to this topic.

Don't get stuck on the idea that you can study with only one instructor. I did, and I wish I'd gotten more experience through more teachers. If your parents support it, go for it! Also, realize that while there are some pros who can get away without a university music education, most hired guns have higher education under their belts. Set your sights on a reputable music program, and ask for help in getting prepared for it.

To directly address your question (how do I get myself out there?), the guys who work in studios usually sweep floors, make coffee, help build and repair stuff, solder electronics, etc., for free, as part of an unpaid internship. After many months or even a year, the studio may hire them as an assistant. There isn't much money in the recording studio business these days, since decent home recording equipment is cheap, and electronic music dominates the commercial music market. So it's extremely unlikely that you'll be hired by the studio as a drummer, because there isn't that much work. If there is work, you'll be competing for work against drummers who've been doing it forever (the Gregg Bissonettes of the world).

"Getting yourself out there" is one of the best reasons to go to a music school, where you'll network and make connections. Have you looked into music programs at a "school of rock" in your area? Does your school have a jazz band? Can you play in the pit for a school or local musical theater? Play music with as many people as possible, be cool to everyone, and don't worry about getting paid just yet.
 
brentcn said:
At 13, I think most would agree that your focus shouldn't be getting paid for work, but gaining as much varied experience as possible, including training on another instrument. Your listening skills will sharpen as you learn music in a new way, and nothing would make you more valuable to a recording studio than being able to play drums, and then pick up a bass or guitar and lay those tracks, too! Most working pros have thorough knowledge of another instrument (shoot, Gregg Bissonette studied at UNT, and has the ability to be his own horn section!). Knowledge of recording software and audio signal flow may also come in handy.
Click to expand...

Completely agree with this. Learning another instrument, studying theory and ear training, its all gonna help you. I wish I had started learning piano at a younger age. Youll start listening to music in a completely new way, your musical acuity in terms of harmony and song structure will exponentially increase. Youll be able to identify transitions before they even happen by recognizing cadences, youll be able to converse with the other musicians youre working with in a universal language (Hey, are we changing the groove on the Ab 6 chord or the Bb #9?), and youll just be a more well rounded and holistic musician. I think of it this way, I dont wanna be an assembly line musician, where I have a skill, and with that skill I can put the stick shift in the car, but nothing else. I wanna be able to build the entire car, from engine to hubcap.
 
keep it simple said:
That's a real wake up story about Greg's charting ability. Wow, that takes some doing. Good to have you posting here btw, do you have any new stuff?
Click to expand...

Well thank you for the welcome back, KIS. Im actually playing a concert this afternoon with a jazz sextet that I really dig. Im bringing the Zoom H2, so by tonight, there may be some stuff in the Your Playing section (if I dont completely bomb it, haha).
 
Thankyou very much for the advice and encouragement, I really appreciate it :)
I currently play the drums in a pop/rock band,in the worship band at my church and as a percussionist in my school orchestra,but I am trying my best to relish in new experiences and explore new styles
Daniel x
 
In addition to your skills as a drummer be aware of your interpersonal relationship skills. You can be a guy with killer grooves but my understanding is that to be a guy who is on call for studios you need to be a team player. You must be cooperative, punctual, know when to speak up and when to just keep your mouth shut. Be able to take direction without becoming defensive. Look at the "Boy Scout" qualities (helpful, friendly, courteous, kind, cheerful, etc.) You may be a fantastic player but if you get a reputation of being "difficult" you probably won't last long.
 
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