What are the required skills of a session Steel Player?

Austin Tripp · Post by **Austin Tripp** » 15 Sep 2018 12:04 pm

My .02cents. Learn some of the technology behind recording. Different mics, different effects and such stuff as that. That way, if an engineer asks if you have a preference for a good starting point, youll have an idea. And be open minded when going to a session. If the producer or someone asks to play something a little different than you would normally think, be open minded to it and try it out. Open your mind and hands to different styles of music. As a session player, you wont always get 1 4 5 1 progressions. Learn as many styles as possible! And remember, be humble and kind and you'll get more calls than you would imagine!

Benjamin Davidson · Post by **Benjamin Davidson** » 15 Sep 2018 5:21 pm

I want to continue to thank those that have posted. The information has been very helpful.

I have about 2.5 years before my transition, so I have time to work on these things. I'll be starting to record myself here in a few months - nothing to release, but I do feel I need to get comfortable and understand that entire process.

Networking looks like another setback with my current arrangement, as I'll be moving across the country when this career is over. So getting to the steel shows/gathering between now and then isn't feasible. Does establishing oneself as a musician on social media/youTube have merit still?

George Kimery · Post by **George Kimery** » 17 Sep 2018 5:29 am

Time is money in a studio. You need to be a quick learner on songs you have never heard before. You need to be creative with new licks that fit the songs, not play the same old licks you're comfortable with. Give the producer what he wants, what you want is irrevelant. Don't make waves and just be a super nice guy to work with and don't be critical of others. You will get called back for more sessions even if you may not be the best steel player in town.

Steven Pearce · Post by **Steven Pearce** » 17 Sep 2018 11:17 am

Iâ€™ve only been around this forum for about 10 years, but with the decades of experience, and the amazing amounts of knowledge shared by the forum members, I have learned so much! Thank you all!

~Benjamin, I canâ€™t add any more advice about studio work. But something thatâ€™s helped me think outside the same old musical box...I found a couple clubs with jam nights, open micâ€™s and things, and with different kinds of music. It lets you play music with people you donâ€™t know, and with different styles of music you may not usually play, kinda like what you might find in the studio. It can lead to some interesting work...Like when a Steppenwolf tribute band asked me to play rythym guitar for a local Friday night Art Gallery art walk-playing my lap steel..go figureðŸ˜Ž

Bill Terry · Post by **Bill Terry** » 17 Sep 2018 12:20 pm

EB wrote:"Give me 2 or 3 passes and play everywhere; I'll straighten it out later."

I do a lot of internet sessions, which I admit is a different animal, but I'd say that's the instruction I get from about 99.9% of those guys. A lot of the time, I don't even know where the other stuff is going to be anyway, it may not even be recorded yet for all I know. I just tell myself it pays the same, and forge ahead.

Allan Kirby · Post by **Allan Kirby** » 19 Sep 2018 5:17 am

I hesitate to post any advice because so many talented and knowledgeable players on this forum know much more about the pedal steel than I do. I am a no-name musician, but I have had reasonable success in studio work and thought my philosophy might be useful to some folks.

I am a totally self taught player with a university degree in music to help me along. I consider myself a competent player, not a great player. I have played for several decades in a variety of musical ensembles. Country bands did not want me because I was too improvisational and could not duplicate the steel guitar sounds found on top country recordings.

Although I was hopeless playing in country cover bands, I still loved the sound of the steel. As a result, I eventually found myself a player for hire, working small tours with a couple of jazz, folk, rock, and blues oriented bands. These groups mixed their own original material with stylized cover material and gave me the space to develop my own instrumental breaks and backing riffs. When these bands began recording in the late 1970s and early 1980s, they invited me into the studio to play because they wanted my creative instrumentals to be part of their sound.

My playing style was noticed by a few music producers and soon I was called to play on radio and television commercials as well as film sound tracks. The more I played in the studio, the more at home I was. Independent singer/songwriters hired me to play on their recordings because they felt I was able to develop original phrases to complement their work. Over the years, I have played hundreds of sessions and have been paid reasonably well. I even get ongoing royalties for some of the sessions. Most of my work is in small rural independent studios throughout eastern Ontario, Canada. No matter how tiny or insignificant the studio seems, I have always tried to be professional. My advice is relatively simple. It has worked for me and I am still working local sessions at an advanced age.

(I realize that I am open for criticism on this forum, so please be gentle. I am just an unknown little guy, definitely not a star, who has somehow been able to make a decent living playing music)

My advice for the studio:

1.Develop a practice regime that allows you to become familiar with every key, major and minor, and acquire a basic understanding of the Nashville Numbering System. It is not uncommon for producers, singers, etc. to decide to record in alternate keys during a session. You need to always be flexible.

2.Practice regularly at home without backing tracks. Improvise and invent melodies and phrases to play. Try to practice in the dark. (When I learned that Buddy Emmons did this, I began and found that it can significantly stimulate musical creativity and free thinking.)

3.Listen to and become familiar with a wide variety of music genres and styles from blues, jazz and rock to folk and western swing. Formulate musical ideas that would fit into these genres.

4.Before any session, obtain clarification on what is expected of you and how you are going to be paid. Small studio owners, producers, and artists can be quite different regarding expectations and compensation.

5.Be on-time, be sober, and be dressed neatly. Overdressing is okay because you never know who will be present.

6.Be polite to producers and recording engineers. Do not have preconceived ideas. Listen to what they say and create your instrumental contribution on the spot when you understand the mood and the structure of the music you are working with. Think outside the box and avoid using too many â€œstock licks.â€

7.There is no need to understand the technical specifications of each studio, let the studio personnel decide how you are to be recorded. Some producers will record you dry and add effects later, some will mic your amp, some will use the line-out and others will plug you directly into the board. Be prepared for anything. You can suggest, but never argue.

8.Personally, I keep my studio gear simple and lightweight because getting in and out of some studios can be challenging (stairs, old doorways, cramped booths etc.) and studio personnel do not want to deal with disruptions. For the studio, I use a single neck E9th GFI Expo X1 pedal-steel 3x4, which I carry in two padded vinyl keyboard bags. I carry a small 40 watt amp (Fender Mustang II), which I have pre-programmed with a dozen useable settings. I have my cables, 2 volume pedals, and spare strings in a shoulder bag and I use a small folding piano stool. No item weighs more than 20 pounds.

9.I do not put on new strings just before a session. I change them a day or so before and play them in until they are stable. Moderately-used strings stay in tune and give me decent tone.

10.I am always positive, accept whatever happens with a smile, and make certain I am paid before I leave.

Fred Treece · Post by **Fred Treece** » 19 Sep 2018 9:18 am

Looks like something from straight out of the Tommy Tedesco handbook, Allan. Excellent advice. And congratulations on making an â€œunder the radarâ€ living in the music business. That was my goal 40 years ago, and I think I went a little too far under

Herb Steiner · Post by **Herb Steiner** » 19 Sep 2018 10:57 am

A couple of very skilled buddies of mine who tried to break into the Nashville studio scene a few decades ago allowed as how knowing how to play golf was a major contributor to a player's success in the studio business. Just sayin'...

Clyde Mattocks · Post by **Clyde Mattocks** » 21 Sep 2018 2:21 am

Hopefully, sometimes but not always, you'll get to listen to a first take and see how your tone sits against the rest of whats going on. Don't assume that the killer tone you love when practicing at home or playing on stage is going to sit well in the mix. Your big fat lows are going to get lost in the bass guitar or keyboards. Most of the time if I have to adjust, its to the brighter. Listen to Paul Franklin on the Alan Jackson stuff. He has found a tone thats going to be heard no matter how low they turn him down (unless they use Barney Fife's microphone).

Mark Wayne · Post by **Mark Wayne** » 21 Sep 2018 10:12 am

Start your own studio, THEN YOU CAN PLAY AS MUCH STEEL AS YOU WANT!

Well, not really..

The thing that has become very important in my regional success as a producer is to ask the client what kind of performers they like, then incorporate that style of steel playing into their song that exists from their favorite songs. Like many have said, it's not about the player, but the desires of the client.

Some clients might even know the name of the steel player that played on their songs they listen too, and if you know THAT style you seldom can go wrong.

Kiss butt..

It's better to be silent and deliver.

Donny Hinson · Post by **Donny Hinson** » 22 Sep 2018 5:06 pm

Herb Steiner wrote:A couple of very skilled buddies of mine who tried to break into the Nashville studio scene a few decades ago allowed as how knowing how to play golf was a major contributor to a player's success in the studio business. Just sayin'...

Herb, was Stu one of them?

Jim Sliff · Post by **Jim Sliff** » 22 Sep 2018 5:26 pm

Apart from "what to do in a session" There is one skill you need that is not optional - sales.

It will probably be very helpful if you play other instruments as well and play all - including pedal steel - in virtually any style (other than classical) that involves acoustic and/or electric guitars.

You are also going to be in a "salesman" more than you will be a "musician", and the product is you.

Get to know every guitar and amp tech shop in town (whether they work on steels or not). In LA at least those are the guys that know the local pro players. They - or their customers - are also the best sources for invites to jam sessions, and you want to be seen at every one within 60 miles as often as possible; preferably hitting one at least 5 mights a week.

If invited you may get a chance to play on a song or two after a month or so of listening, chatting and proving you're not a jerk. The more you get to play the more your name gets spread around amongst musicians and back at the tech shops

You may beed to take a band slot with a well-known local band that regularly gigs at larger clubs IF it comes up, don't turn it down.

In a new city you have to first become known by name; then by reputation. You're starting from scratch, have no credibility and play a "niche" instrument that rarely results in full time employment. So do some soul-searching: "am I willing to make the personal sacrifices to try to do this full-time? do I have the financial resources to live comfortably if it takes a lot longer than I'm hoping? What is my fallback plan if it just doesn't happen?

Few - if any - pedal steel players can make studio work a full-time job, so are you willing to be a full-time "musician" - doing some studio work, gigs, jams, periodic tours as they come up; working in a store, tech shop, cartage company, manufacturer - something related - when the studio and other work just isn't there?

It's a tough business - good luck!

PS - regarding "choppy" solos being pieced together - those are not your concern. Your concern is getting a session at all! Piecing together a solo is a production (or engineer in a small studio) job.

But realize there is another competitor out there. Any producer that simply wants some pedal steel backup or fills on a track doesn't even call a soul unless they want a specific player. Many just want "that sound"

And they simply copy and paste a loop from one of the many commercial loop sellers. They are "royalty free" because the royalties get paid as a percentage of the entire package (if at all). A Logic or Protools based studio doesn't need any specialty instrument players at all. They have several in software, and simply change the meter and pitch to fit the song.

Donny Hinson · Post by **Donny Hinson** » 23 Sep 2018 4:17 pm

Jim Sliff wrote:
...But realize there is another competitor out there. Any producer that simply wants some pedal steel backup or fills on a track doesn't even call a soul unless they want a specific player. Many just want "that sound"

And they simply copy and paste a loop from one of the many commercial loop sellers. They are "royalty free" because the royalties get paid as a percentage of the entire package (if at all). A Logic or Protools based studio doesn't need any specialty instrument players at all. They have several in software, and simply change the meter and pitch to fit the song.

Yes, sad to say, that's being done more and more. But, as real music goes, I feel that that only leads to sort of a dumbed-down product. I compare it to the old "paint-by-number" things for kids that were so popular back in the '50s and '60s. This color goes here, that one goes there, and before you know it, we have a Rembrandt. Was it art? Maybe...in some rudimentary way, but no one ever got famous with what they did with that stuff. Similarly, when you take away the creativity of many individuals, and substitute a bunch of generic clips with zero personality and style, there is little chance of creating a true masterpiece, something unique and beautiful that will stand the test of time.

YMMV

David Mitchell · Post by **David Mitchell** » 25 Sep 2018 5:47 am

A large majority of lead instruments today is recorded in players homes and the tracks are sent back and forth through email drop boxes. The engineers and producers adjust those tracks however they like in their DAWS. The days of 8-12 musicians playing at once in a studio are just about gone and that is a good thing for young players wanting to break into studio recording because in those days you had to get it fast and right within a couple of passes. Now a recording steel player can work all weekend on his/her part at home before they send it to RCA Victor.
Back to your question, I spent about 40 years engineering and producing recording sessions in Texas. Some were with the finest players there has ever been and a lot were struggling to make a pleasing sound but one player in particular sticks out in my mind. The player was the late Bob Boatright a fiddle player and sometimes Bob and Johnny Gimble played twin fiddles but after every session Bob as great of player as he was would always come in the control room and say " If you need me to come back and redo anything just let me know. No charge." Actually that required driving a round trip of 400 miles from south Texas to Dallas. Of course I never needed to call him to redo anything because he was such a brilliant player and had ideas that were beyond my imagination. That always impressed me that he was willing to do that. R.I.P Bob

Lee Baucum · Post by **Lee Baucum** » 25 Sep 2018 6:28 am

David - You probably already know this ... I believe I recall reading that Bob had several college degrees and taught both math and physics.

Franklin · Post by **Franklin** » 25 Sep 2018 1:17 pm

Patience and perseverance is what it takes. The music centers LA, NYC, Nashville, London, etc. offer the most work and also have the most competition.... There are also internet sessions so there are different answers to this question. The right answer depends on where you plan on trying.

David Mitchell · Post by **David Mitchell** » 25 Sep 2018 11:49 pm

Lee I do recall them chatting about that one day on lunch break. Bob was very courteous and hardly ever talked unless someone asked him first.

Benjamin Davidson · Post by **Benjamin Davidson** » 26 Sep 2018 3:59 am

I want to thank everyone for their replies, I appreciate the insight.

I'm not looking to make these sessions my full-time employment, but still to be taken seriously. The intention being to develop enough of a home studio to properly record tracks and send them off. I'll have some work to do there, but its not an issue with my background.

Lets keep this going.

Charlie McDonald · Post by **Charlie McDonald** » 26 Sep 2018 4:19 am

I happened across this video of working session musicians and producers and some session work. Percussionist Lenny Castro is featured; all are top flight players.

Overdub: A story of session musicians

If you are looking to do this kind of work (or not), you will find it very enjoyable. Attitude is discussed.

An interesting quote by producer Mark Prentice apropos to comments made here: "The thing we do here where we put together five or six musicians in a room
and create four or five songs in three hours for people--I think we're the last class of guys who are going to get to do that full time and make a full-time living at it."

Joe Goldmark · Post by **Joe Goldmark** » 28 Sep 2018 9:29 pm

Put a lifter in your gear for when the engineer can't figure out how to eliminate the hum. These days a lot of sessions are at home studios where they're pretty clueless about how to record steel and the electricity is sometimes questionable. Also remember that certain dimmers and fluorescents can cause hum.

Joe Goldmark · Post by **Joe Goldmark** » 28 Sep 2018 9:36 pm

Put a lifter in your gear for when the engineer can't figure out how to eliminate the hum. These days a lot of sessions are at home studios where they're pretty clueless about how to record steel and the electricity is sometimes questionable. Also remember that certain dimmers and fluorescents can cause hum.

Also figure out the money before the session, and don't sell yourself cheap. If they squeeze you, there will undoubtededly be other BS and you're better off not taking the session. Of course there's nothing wrong with playing for free with your buds. It will come back to you in many good ways.

Joe

Marc Muller · Post by **Marc Muller** » 30 Sep 2018 1:11 pm

Play in tune.
Play in time.
Don't overplay.

Bob Lawrence · Post by **Bob Lawrence** » 30 Sep 2018 1:54 pm

I wish we have more video's like this one of Buddy Emmons and other players in the studio

https://youtu.be/Qjv5tFcuStc

EMMONS HEART

Chris Templeton · Post by **Chris Templeton** » 1 Oct 2018 6:13 am

Along with the good advice about playing in tune, in time, being easy to get along with and other tips, I remember something Buddy said about sessions: "It's all about the art of looking interested".
In this light, Speedy West once told me a story about doing a session in LA with a lot of musicians. Speedy couldn't read music, so when the producer said to strike bar such and such, Speedy would grab his pencil and pretend he knew what he was doing, correcting the sheet music.
At one point, the producer called Speedy on his inability to read, but added that what he was playing was fine and to keep on playing like he was.

Michael Johnstone · Post by **Michael Johnstone** » 2 Oct 2018 9:01 pm

I did more than a few sessions in the first 10 years of playing in bars but I didn't hit my stride until I became a recording engineer. That's when I found out how records are really put together. After producing records featuring the Los Angeles "A Team" and witnessing the process and putting it under a microscope,I was on my way to knowing how to edit my playing to fit a track.

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