Studio/Session Player Out There

[Pete Academy]

I haven't done much studio/session work in my time, but a couple of years ago I played on a track where they wanted an electro-acoustic bass.

The bass part was extremely simple. They had me play a couple of bars of the verse and the same for the change and chorus. That was it. They said they would sample the parts and repeat them throughout. I asked if I could play one or two again, as I thought there was a slight timing issue. They said they could fix that easily enough.

Ten minutes work and a good pay cheque.

In the world of digital recording, where I know most stuff is altered and autotuned, is this now the norm for session players?

Does anyone actually play the song in its entirety anymore?

[Pete Academy]

So, I get the feeling there are no session players on here?

[Alun]

I wouldn't call myself a "session player" as I don't do it that often, but I've come across both scenarios. A few years back I played on a dance track - played the ostinato for 4 minutes and at the end the producer flicked through, found a bar where every note was mechanically dead on, and copy and pasted it across the whole track

[doctor_of_the_bass]

[quote name='Alun' post='651984' date='Nov 11 2009, 08:55 PM']I wouldn't call myself a "session player" as I don't do it that often, but I've come across both scenarios. A few years back I played on a dance track - played the ostinato for 4 minutes and at the end the producer flicked through, found a bar where every note was mechanically dead on, and copy and pasted it across the whole track [/quote]

Same here really, there aren't that many local sessions up here but I've done stuff for different people in studios and have experienced both `fully played' and `pasted' situations! I recall one situation where the drums were `moved' to be in time with me!!! Hehehe!

[wateroftyne]

Been there before, but I try and avoid it. It's just no fun.

Give me the song, and I'll play it. By all means, fix my blips afterwards, but please don't loop it. It drives me nuts.

[OutToPlayJazz]

I did a few classical recordings in Spain of all places, but don't get to do much in the way of popular stuff. I've been asked to do some for one ex-chart band on a new album & I've got the contracts for another album with a new solo artist, but we'll see what comes of those particular jobs. I can see the new solo artist album being a bit of a cut and paste job, as the producer is pro tools mad!

Edited November 11, 2009 by OutToPlayJazz

[Stingray5]

I've done plenty of recording, band work and other session stuff and try to avoid the copy/paste scenario absolutely wherever possible.
If it's a session restricted by time and/or budget, it might prove necessary and I guess that's ok. But it can sound too obvious depending on the part.

[thisnameistaken]

[quote name='Alun' post='651984' date='Nov 11 2009, 08:55 PM']A few years back I played on a dance track - played the ostinato for 4 minutes and at the end the producer flicked through, found a bar where every note was mechanically dead on, and copy and pasted it across the whole track [/quote]

I had a lot of that years ago. I used to hang out with some guys in the early '90s who put out a lot of house records and they'd have me sat in their studio just jamming along to stuff on a night after the pubs shut, and at some point they'd pull out a few bits they liked and use them, often on completely different tracks.

[Doddy]

I'd much rather run the track all the way down but once I've left the studio
it's generally out of my hands. Sometimes it's kept as is,other times it's cut and pasted
all over the shop.

[Owen]

They are paying. If they are stupid enough to spend half an hour fixing something which would be a 30 second drop, more fool them. As long as the cash is good they can do what they like. If they like what you do and you deliver what they need they will use you again. It's a job.

[chris_b]

I did a session last week to good old fashioned tape! Haven't done that for awhile! We played the number about 6 times and typically they chose the first take, because the feel was better! There's definitely less pressure when using pro tools.

[jakenewmanbass]

The last session I did for a label involved me giving what I would call a bunch of examples of lines that would fit the song, I played on five tracks and was basically asked by the producer to play it straight then with a bit more then like this then like that on one track he asked if I could mess around like a young kid that couldn't really play the (double) bass and then I did a bunch of takes where I really went mad (all at his request)
Everything was first take there were no repairs and I'm fairly sure that they would have scanned all the work I did and chosen the bits that grooved the best and looped them. I've listened to the artist on myspace since and can barely tell it's me...
Compare that with doing Roy Powells album with Mike Walker, Iain Dixon and Steve Gilbert some years before. It all went down to 2 inch tape and all takes were full tracks with a few repairs. you can hear those tracks in the last few on my myspace page if you wish, it's fusionish... some very challenging bass parts.
I have also done a ton of tv and radio adverts where I worked closely with the producer to arrive at the right part and then he liked to get it all down in a take for continuity. He was one of the best producers I've worked with actually and I have no doubt that if you own a tv you'll have heard his (and possibly my) work.
As a double bass player when doing album sesions I've always been complimented for my consistency so ultimately I think even in these times of cut and paste it still does count for something.

[The Funk]

For some things cut/paste/loop works brilliantly. I've got a little solo side project where I'll be playing or programming every instrument and doing just that for effect.

[BigRedX]

With my producer's hat on...

I would go for 2-4 takes that both myself and the player were at least 95% happy with and then assemble the complete bassline out of that.

If it was for a dance-floor aimed track but I wanted the vibe of 'real' bass guitar I would probably wait until the finished vocal was in place before recording the bass guitar part. A good bassist will react to the nuances of the singing and produce something extra special. A good groove is a good groove but it doesn't always feel like part of the song.

[hubrad]

Meself + drummer (top notch player) recorded recently for a singer songwriter who's spent a good while learning Cubase by recording his songs. Sadly due to his timing being a bit off in places it was a real struggle at times to add the whole rhythm section afterwards.
He will have spent an inordinate amount of time cutting, pasting and shifting to get the songs into the best possible fettle; it would have been better IMHO to re-record the lot from scratch as live single takes.
Having said that, it's his project and he's paying! So long as he's happy..

[DanOwens]

I generally do three takes. A very simple one, a very complicated one and one in the middle. The producer can then compose the bass part they want from my building blocks. Easy enough, and like others have said: "We get paid!!"

Dan

[spacecowboy]

[quote name='doctor_of_the_bass' post='652030' date='Nov 11 2009, 09:42 PM']I recall one situation where the drums were `moved' to be in time with me!!! Hehehe![/quote]


Haha i had that the last time i recorded too! silly drummers.

[JTUK]

ha ha ha last one I did had a really intricate part which we couldn't nail colllectively....

When I heard the CD they had copied and pasted it and it sound pretty damn good to my eyes.

Generally I like to do a one take all the way through as it just feels better that way to me. I might have to punch one or two things in.. but the feel and empathy of the take is the most important.

If the guy is paying and he is on a budget, then it is his call..