Session Solutions

Going into the studio as a drummer comes with some inevitable hurdles. If you’re a permanent member of a band, the studio experience can be more relaxed, as you know the guys you’re working with, but if you’re being hired as a ‘session’ drummer and you’ve never met the people you’re working for, you’ve never played at the studio and you haven’t even heard the tunes yet, well, all these things can dramatically affect the recording process. Here are three things to consider before rocking up for a blind session, based solely on my own experiences and what has worked for me.


Nine times out of ten, the producer will prefer bigger drums, and usually old ones. If you don’t know the tunes yet, or even the sound they’re going for, it would usually be a better option to assume that they’ll dig fatter, shorter sounding toms. For this reason, I have a 1960s Ludwig with 13” and 16” toms. They have a naturally shorter tone that can be tuned up or down. On occasion, I’ve used my Yamaha Maple Custom, but the 10/12/14” tom arrangement would usually suit a fusion or RnB record, and you’d probably know that was the style you were going to be playing before the session. Either way, I’ve found the old and thuddy approach works most of the time and it’s the safer option.


If you don’t know what’s going to be asked of you, bring extra gear, particularly cymbals and snare drums. Have a few sized snare drums that have different roles. I use a Yamaha 14x7” Oak custom to do the low/thud 70s vibe, a 14x6.5” metal drum does this well too. I also use a combination of 14x5” Ludwig Black Beauty, LM400 Aluminium Supraphonic or Acrolite snares for the medium to high tuning range. It’s nice to have the snares basically tuned where you want them so you can swap them in and out quickly. Likewise with cymbals, make sure you have a lighter ride and a heavier ride, brighter crashes or darker ones, crisp hats and trashy ones. This will give you a greater flexibility when the producer inevitably asks for a different sound. Interestingly, I’ve found splashes don’t really get a look in on a bog standard pop record.


This is a biggie. Make sure you have the following items on a session with you. Moongel (stick-on dampening gel pads), Gaffa tape and tea-towels or a couple of bits of old sheet/material. I end up using these items all the time. When the drums are left wide open they’re louder, and for a live gig it’s a good sound, but often the overtones can be a nuisance on a session when it’s usually easier to chuck on some dampening and get a more focused tone. Obviously, the producer will ask for a certain sound. Having the dampening will just make your life easier when they ask. It’ll also make those snare drums behave. Low and thuddy is very hard without some dampening.