Preparing for a Music Session

So if you're lucky, you might get asked to do a session, whether it's online or you're physically going to the studio.

Preparation Tips

• Listen to the Track
  It's always good to prepare by listening to the track beforehand. You don't always get a chance to do that, which can be quite scary sometimes.

• Request an MP3
  If you get sent an MP3 of a song, maybe ask for the song without the bass so you can fill in. If it's already got a bass on it, just EQ the bass out and listen to it.

  • Listen to it a good few times before you actually start playing over it, unless you have a quick idea.
  • The best thing is to have it on in the kitchen or in your bedroom for a few hours until it becomes part of you.

• Playing Ideas
  After familiarizing yourself with the track, sit down and play what comes to you. Do a few ideas that you like and send them back.

Studio Session Dynamics

I haven't done a lot of sessions in that way, but usually my sessions consist of going to a studio, listening to the track, and then working out the bass line on the spot.

Key Points to Remember

• Stay Prepared
  Be prepared so there are no surprises. You should also listen to the producer or the writer; they may have a specific bass line they want you to copy.

• Bring Supplies
  Bring your lunch so you don't have to jet out of the studio and waste studio time. Bring a drink, too, and just enjoy the experience.

• Equipment Essentials
  When it comes to equipment, bring everything.

  • This way, you'll have what you need for any particular sound or effect.
  • Bring all your pedals and cables so you don't have to ask them or the engineer to grab something for you.
  • Being self-contained makes you easy to work with, which will likely lead to more sessions in the future.

Personal Experiences

A couple of my earlier sessions were for Jamiroquai and Soul to Soul.

Jamiroquai Experience

I remember sitting at home in probably 1988 when JK had just been signed. Jamiroquai had just been signed to Acid Jazz, but they didn't have a regular bass player. I got a call from Jamiroquai's manager saying, "Get to the studio; the bass player doesn't know what he's doing."

• I jumped in my car, drove down, and walked into the studio. It was obvious that the other bass player was trying to do too much.
• I kept it simple with an octave-pedaling thing.

This turned out to be a big song for him, and I was thankful they liked the very fast turnaround I managed.

Soul to Soul Experience

Another important session was likely in late '87 or maybe even '86. I was very inexperienced, playing in a studio with just one bass and one cable. I didn't even own an amp and had to borrow one.

• Listening is crucial.
• The first thing that came to mind was a bluesy bass line, influenced by my background in jazz.
• It was similar to a favorite bass line by Bootsy Collins from a big James Brown single.

I was called by Jazzy B from Soul to Soul. When I walked into the studio, there was Nelly Hooper programming an incredible beat. I was 18 and had minimal gear.

• I switched my idea around from a Bootsy Collins bass line and extended it a bit.
• The groove needed to be longer, which made a difference.

The Importance of Groove

It's amazing what you can do with three notes. I explored the neck and played around with the rhythm.

• They liked it because it stood out compared to what they usually heard from synthesized bass.
• A more organic bass line adds life to a drum machine groove.

Remember, feel the groove and feel the drum line, hopefully, the bass line will come to your head!