bobbyowsinski.com/The_Studio_Musicians_Handbook_-_Leland_Sklar_Interview_Excerpt.htmlKnown for his distinctive long flowing beard, Leland Skar is one of the most respected and in-demand bass players on the scene today. Lee has contributed his skills to literally thousands of albums, soundtracks, films and television shows with such diverse artists as Clint Black, Jackson Browne, Jimmy Buffet, Crosby, Stills, and Nash, The Doors, Vince Gill, Ricky Martin, Diana Ross, and of course, James Taylor.
Give us some background on how you got into session work?
I never really thought about being a “studio musician” since I was always a band guy who liked to play live. When I met James Taylor in 1969 and “Fire & Rain” (Taylor’s first single) went through the ceiling, I started getting calls to do records. (Drummer) Russ Kunkel and I were paired as a rhythm section and started working together. That’s turned into a long career for me without really having had to think about it. I feel very blessed by this. I was at the right time and in the right place, as they (whoever ‘they’ are) say!
What do you bring with you to a session?
I bring several basses, a few effects, a DI box, and an amp (No rack!), and a lot of enthusiasm!
Do you tailor what you bring according to the session?
Not really. If I know in advance of any special needs, I’ll take care of that. But in general, I’m prepared for almost anything that might be asked of me.
Is your stage rig different from your recording rig?
Yes, but not by a lot. I probably have less with me on the road than I would in the studio. I generally bring 2 basses on tour. One is a backup for that “just-in-case” moment. I use the same amp I use in the studio, but would probably add a second cab depending on the venue. I’ve been using Euphonic Audio amps and speakers for several years now. In the studio, I use a Iamp800 combo. On tour I would use a Iamp800 head with a 2X10 cab and a 1X12 cab. I was using a GrooveTube Brick or my Tubeworks DI, which is what I normally use in the studio, and a Yamaha Sub-Kick in front of the 12” cabinet as a mic. It’s an amazing sound. That piece of gear is normally used by drummers on their bass drums, but I tried it once on my set up and it’s killer. I don’t us any pedals live, except perhaps a Boss OC2 Octave pedal. I try to keep the bass as pointed and clean as possible so that the house mixer has something to build the rest of the instruments around.
What do you like to hear in your headphone mix?
It depends on the session. If we’re playing to a click, then that’s what I want the most of. I always prefer something like an old Urei click generator. I really hate when they try to make the click musical and it just disappears in the track. The click is there for a reason, and it doesn’t help you if you can’t hear it. After that, it depends on what other instruments are being recorded in regards to where they would be in the mix level-wise. Most of the time these days I go to guys houses and overdub bass on pre-produced tracks and it’s just me playing, so I grab whatever I can that will be useful to me and go for it. But it really depends on the individual circumstances of the session.
What was your defining moment?
It’s hard to say at this point because it was a long time ago. Probably when I started getting calls that were unrelated to James Taylor and realized there was a world away from him. I remember one of my first calls was for a Brian Hyland session with Del Shannon as the producer. I was in a room with guys I didn’t know and still had to get into it. It was such a great adventure and it still is to this day.
What do you see that’s common with all good session musicians?
There are many qualities; great ears, focus, dedication, ideas. It’s a special breed of player. You have to bring a lot more than just your facility on your instrument to the date.
What do you know now that you wish you knew when you were first starting out?
How much more money the composers make than the players (sort of just kidding!) I really don’t think I needed to know more, because few of us really knew anything and that’s why so much great stuff got recorded. We were writing the book as we went along.
Do you have any advice for someone starting out doing session work?
Be focused. Have ideas that go beyond the required playing. Be involved. When the song is done and it is time for playback, don’t go the other way and start making phone calls or playing around on your laptop. Stay involved. Listen back to the performance and if you have any ideas, throw them out there and try to make the performance the best you can. And, if the session starts at 10AM, don’t be pulling into the driveway at 10AM. Be tuned up and have your sound together and be ready to start recording at 10AM. Not all dates are like this but it’s good to be professional and not treat this lightly. If you get to do this, it’s one of the great blessings in life. Treat it with respect.
What kind of sessions are the hardest for you?
If I get called to do a pop/slap funk date, I’m not happy because I do not slap. I can fake it but don’t really do it well. When I get that kind of call, I tell them that’s not my style and I give them some names of friends who can play the shit out of that stuff.
What kind of sessions are the most fun?
The ones that have great songs, great players, a great engineer, and free food.
What do you hate about recording?
Very little. I love about 90% of it. The only thing I don’t like is the new technology of the digital world that’s allowed a lot of people into the business that should never be here. No time, no pitch, no.....Oh well, we’ll fix it later. Bullshit! Do it right or go away! And the new world of ProTools and digital workstations means that everyone has a studio at home, so now I don’t see the other cats I like to play with as much. It’s not nearly as much fun and creative to just sit in a guy’s garage and overdub bass with no input and hang with other players. When we used to do dates together, there was always 4 to 8 players on the live date and ideas flew around the room. Now, when I get called for a full date of band in a real studio, it’s like a gift.