Man I hate doing studio work!

Mark Metdker · Post by **Mark Metdker** » 20 Apr 2005 4:54 am

Just got out of a full 8 hour day in the studio. I layed down steel and lead guitar tracks for 8 different songs. Now I have done a lot of manual labor in my day, and I feel like I have had a full day of digging post holes! I guess you get used to the stress after you do it a while, but when you only do it a couple of times a year, it kinda sucks. Any of you other boys feel worn out after a full day of session work? Or am I just a sissy!

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Zum U-12 w/True Tone pickup thru a Nashville 112

Strats thru a tweed Bassman

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David L. Donald · Post by **David L. Donald** » 20 Apr 2005 5:19 am

Mark, I'm almost always burnt afterwards.

The MENTAL strain of focusing so hard is what does it.
A very intense level of consentration will sap your body big time.

But it's a GOOD kind of tired too.

Mark Metdker · Post by **Mark Metdker** » 20 Apr 2005 5:22 am

Yes, it's a good kind of tired. Hey, I even made a few $$$ also!

Tim Whitlock · Post by **Tim Whitlock** » 20 Apr 2005 5:28 am

I find that I'm musically drooling and babbling after about six hours.

Mark Metdker · Post by **Mark Metdker** » 20 Apr 2005 5:31 am

Yep, on the last tune of the day, I had to lay down a slide guitar thing. The song does a weird chord change on the bridge, and my mind just goes blank. I just can't figure out what to do on that part of the song. After trying about 5 different things, I stood up, took off my headphones, walked out of the booth and said "can't get it man, I'm done for the day"

I nailed everything else though!

[This message was edited by Mark Metdker on 20 April 2005 at 06:32 AM.]

Webb Kline · Post by **Webb Kline** » 20 Apr 2005 5:58 am

I love the studio as long as I am working with a producer who is open to allowing me into the creative process. Around here, I have those liberties most of the time and I think it is the greatest gig going.

Yeah, a day of it can make you tired, but it's a good kind of tired for sure. Nothing more fulfilling to me as a musician than being a part of new music coming together. [This message was edited by Webb Kline on 20 April 2005 at 06:59 AM.]

Cor Muizer Jr · Post by **Cor Muizer Jr** » 20 Apr 2005 6:17 am

Well i've doing these things at the other side.

i worked in the past 8 hours a day for live television broadcast, so sitting behind my mixingconsole and all the stuff, almost no time to go to the toilet just very quick in comercial breaks or in a few minutes between different programs and lunch time either behind the desk when on air.

so i know that feeling too after a 8 hour day of work in studio's but like it.
and it sure is a good kind of tired.

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Cor
soundengineer/steelplayer Rains D10 8×5 RED Goodrich LDR2

[This message was edited by Cor Muizer Jr on 20 April 2005 at 07:19 AM.]

Savell · Post by **Savell** » 20 Apr 2005 6:46 am

.[This message was edited by Savell on 29 May 2005 at 06:50 PM.]

Michael Breid · Post by **Michael Breid** » 20 Apr 2005 7:08 am

Well, at least you're working. Think of the thousands who would love to be doing what you are doing. You are a very special breed who can make an artist, whether great or mediocre sound good on a recording. I did studio work for awhile and loved it. It's a real challange, and on an eight hour + session, it really drains you, but when you hear your playing on the radio or TV it makes it all worthwhile. Money? You mean you're supposed to get paid for this? Ha Ha.

Mark Metdker · Post by **Mark Metdker** » 20 Apr 2005 8:13 am

Yes, I am thankful to be busy playing the steel. I'm having more fun than ever right now.

Savell you graciously included me in the "Pro" category. I think the only reason I got the call for this session....this was my front man's studio time, and he pays me much less than a REAL studio player! HA!

I told him before we started "you get what you pay for, so don't expect too much!"

chas smith R.I.P. · Post by **chas smith R.I.P.** » 20 Apr 2005 8:50 am

I usually start by saying, I suppose you want me to play in tune. They usually respond with something like, nah it's not important. And I continue with, oh good 'cause it is a steel guitar and it's not supposed to be in tune.

Studio work is exhausting. Welding and machining is exhausting. I don't get as many burns and my clothes never caught on fire in the studion.

Bobbe Seymour · Post by **Bobbe Seymour** » 20 Apr 2005 9:18 am

Mark, welcome to the club. I did nothing but studio work in Nashville for several years, made good money but the fun wasn't there. It takes a special personality to do this type of work day in and day out. I'm not that kind of person, nor do I ever wish to be. But there are those that love it and do well at it, I thought I did once but I did not like the politics, or most producers ideas, driving all over town in the traffic and all the set-up and tear-down time. It just wasn't me.
I still do a few sessions for companies I like, producers I respect and artists I care for, but now I don't have time to do many, thank goodness. Paul, Tommy, Lloyd, Dan, Steve and others are now the pro guys to call. I'm having fun doing what I do in the biz. I guess I'm lucky,

Mark Metdker · Post by **Mark Metdker** » 20 Apr 2005 9:26 am

Yes I understand Bobbe. The only reason I ever started playing was to have FUN. Studio work is just that.....work. NOT fun, at least for me. I am a people person and like playing live. I love the interaction with the crowd and the other musicians on stage. I don't get that doing studio work, I just get stress and the words...."let's try that one more time" ugh!

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Zum U-12 w/True Tone pickup thru a Nashville 112

Strats thru a tweed Bassman

Band Pics
http://community.webshots.com/album/176544894AuXSmi

Jack Stoner · Post by **Jack Stoner** » 20 Apr 2005 10:14 am

Mark, I have an 8:30 AM session scheduled tomorrow. It wil probably be an all-day session. Fortunately the singer that I'm working with tomorrow I've done several CD projects in the past and he lets me pretty much do what I want so I'm not pressured like some sessions.

But, I agree the pressure is there and it's emotionally draining for many.

I've got another session to do next month, adding steel to several "teaser" tracks for a national Cable TV network. That may be more demanding. They want to add steel to "fatten up" the sound - whatever that is.

Mark Metdker · Post by **Mark Metdker** » 20 Apr 2005 10:19 am

I pretty much had artictic freedom to do whatever I thought sounded good on the tracks. But I would play a lick and then think, "I think I can do that better, let's do it again" So, sometimes I am my own worst enemy.

Jack Stoner · Post by **Jack Stoner** » 20 Apr 2005 11:57 am

We are all our worst critics. There's very few times that I think "I really nailed that" or that was a great lick. The sad part is I'll think something could be better and the singer or producer will say "that's great - we aren't going to change it" and then you have to take the "if they are happy" route.

Paddy Long · Post by **Paddy Long** » 20 Apr 2005 12:46 pm

Yes Mark session work is mentally exhausting, but once you have done a few you tend to relax a bit more which helps a lot. What drains you the most is having to be creative and the concentration levels required - considering a lot of the stuff you will be hearing for the first time, and it doesn't help if the producer hasn't got a clue what he wants from you. ALthough when that happens they usually tell you to play what you think will fit !! I love the environment myself but it's not for everyone.

Chris Schlotzhauer · Post by **Chris Schlotzhauer** » 20 Apr 2005 12:59 pm

It can be tense sometimes. I much prefer sitting at my own recording console and recording overdubs at my own pace with no pressure. I can come up with much cooler takes.

Drew Howard · Post by **Drew Howard** » 20 Apr 2005 4:30 pm

Mark,

I feel for ya. Those mega-tune sessions are exhausting! I've got a couple coming up.

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Drew Howard - website - Fessenden D-10 8/8, Fessenden SD-12 5/5 (Ext E9), Magnatone S-8, N400's, BOSS RV-3

[This message was edited by Drew Howard on 20 April 2005 at 05:38 PM.]

Tom Stolaski · Post by **Tom Stolaski** » 20 Apr 2005 4:44 pm

I played on a Gospel CD that took eight hours. There were eight songs. A couple of mandolin fills and guitar fills. The rest was all me on steel and banjo.I ran out of ideas after the first couple of songs. The guy loved steel guitar so much, that he wanted me to play on all the songs. It was a challenge to come up with something completely different.

Michael Garnett · Post by **Michael Garnett** » 20 Apr 2005 4:49 pm

What I liked about most of the sessions I've been in out here is that with digital editing, you can lay down several virtual tracks, and "pick and choose" from different parts. If you have a good engineer, he can meld two halves of a solo together, and you won't ever tell the difference. Also, learn to relax and not psych yourself out. That's what I try to do when I'm waiting for my turn in the booth.

-MG

Jim Phelps · Post by **Jim Phelps** » 20 Apr 2005 7:16 pm

I never liked recording much. When I was 14 years old, I nagged my poor dad until he got me a Roberts (Akai) 771X reel-to-reel that could do sound-on-sound without a delay between the two tracks. I couldn't wait. It was an exercise in frustration; no punch-in/out, and ping-ponging the 2 tracks even once gave you hissy, weak audio. I still have those horrible tapes. I think it gave me a complex about recording that I'm just beginning to get over.

I'm almost never nervous playing live, unless I haven't played in a very long time and am unsure of myself.

First time in a real recording studio, I found out playing live and in a studio are two different things.

Play a fast, hot lick live, they love it.

Play a fast, hot lick in the studio and they might tell you the 3rd note was slightly off meter, can you do it again, cleaner, please? Or maybe, there was a little bit of fret buzz or bar rattle on one note in there.... no good.

You really have to hand it to the guys who play studios full-time. It's not easy, and if you're more used to letting it all hang out on live performances, it can be frustrating and nerve-wracking.

I did end up doing lots of demo stuff and a couple masters for no-name singers, also played on a bunch of "sing-along" tracks, before Karaoke and midi tracks came along. There were times I got my track done on the first take with no punch-ins, and other times it took a few takes and had to punch-in several times. That's how it goes.

Never recorded with a big star, that's what (we know who they are) are for.

Overall, I still prefer playing live. Not because you can get away with slop easier than in the studio. At least in the studio you can fix your mistakes, live you can't.

I like playing live because there's just something about it that "switches me on" and gets me excited, I feel like playing. In the studio, it's harder for me to get into the music, but I'm starting to warm up to it a little, finally.
[This message was edited by Jim Phelps on 20 April 2005 at 08:24 PM.]

T. C. Furlong · Post by **T. C. Furlong** » 20 Apr 2005 7:34 pm

I used to do a fair amount of jingle work and it can be exhausting. In Chicago, the fact is that most producers don't know how to write for steel guitar and the spots are usually 10 or 30 seconds long. When I first started in the late 70's, I was really uptight during sessions until my friend Howard Levy pulled me aside and said, "tell them what type of steel part should be on their track, you know way more about your instrument than they do...That's what I do with harmonica and they love it" So I did what Howard suggested and you know, it got a lot more fun and they did love it.
TC

Jody Sanders · Post by **Jody Sanders** » 20 Apr 2005 7:56 pm

Mental fatigue is the worst kind. I don't do a lot of studio work anymore, but what bothered me most, was when it was over and I was home, I would start thinking about the session and licks and solos I wished I had played. See you down the road, Jody.

Klaus Caprani · Post by **Klaus Caprani** » 20 Apr 2005 10:40 pm

I just had a session where I laid down steel on 6 tracks delivered to me on CD.
I fed the cue-tracks into my system and recorded all steel here at home before returning it to my customer as 24 bit wavefiles on a data-CD.

I LOVE doing it this way when possible.

I had a session some time ago where I was put in the room together with drums, a mandolin and an upright bass.
Needles to say that things went a whole lot smoother as the producer entered the setup with a well tuned Martin guitar.

I think that studio work puts a lot of pressure on your shoulders. Would like to do more of it though

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Klaus Caprani

MCI RangeXpander S-10 3x4
www.klauscaprani.com