Jan 6, 2009 4:03 PM, By Matt Gallagher

Dave Weckl

Photo: Andy Amyx

Weckl: Most of my clients are recording artists or producers doing their own CDs. Most come to me because they want my sound, my playing, and in some cases, my name, on their project. My clients range from local players/producers here in L.A. and all over the U.S., to a really diversified list worldwide.

I have four or five clients in Turkey, a couple in Greece, France, Italy, and many other countries. The list is long, and the styles are diverse. In Turkey alone it varies from pop stars [Emre Altug, Sertab Erener] to a fantastic bouzouki player [Orhan Ozman] that combines ethnic music from the region with jazz, and a talented jazz piano player [Genco Ari]. I just played on a rock opera from Italy, and just finished the second CD of bass player/composer Yiorgos Fakanas in Greece. Jeff Lorber comes over with his hard drive every so often for either his own record or someone else [who] he is producing, as does Mitch Foreman, another great keyboardist/artist/producer here in L.A. I’m constantly getting a song here or a whole CD there, coming in to record. Mixing records is something I’m doing more of now, too, all stemming from this initial tracking service.

People that don’t know me personally find me generally through my Website, where I have a page dedicated to promoting this service, along with mixing and producing. I also belong to eSession. I was one of the first to sign up on their site a few years ago. I'm all for as much promotion as possible, and sites and services like eSession are just another way for lots of people to find you and check you out.

Russ Miller's Yamaha drum set at R.M.I. Music Productions

Photo courtesy of R.M.I. Music Productions

Do you think it's possible in this day and age for a drummer to make a living in music without learning to record acoustic drums, or setting up a studio?
Miller: I don’t know if it’s possible at this point to blast into L.A. or New York as a 25-year-old wanting to break in and become a seriously working session guy that doesn’t have a room at all. Most guys who did that when it was [still] possible to do that 10 years ago, we all have rooms [now] and we’re all doing it this way. Vinnie [Colaiuta], J.R. [Robinson] and Weckl: These are the biggest guys in the industry and they have rooms.

Weckl: I have always professed to any students I’ve ever had to learn as much about the music business as you can—it’s not just the "drumming" business; that is a very narrow scope, especially these days. So yes, learn about engineering and sound, develop the ears for it. Get your own room and offer the service—sure, why not! Oh yeah, practice and get good on the drums, playing and tuning them!

Certainly, quite a lot is involved with establishing and maintaining a successful custom drum track business.
Weckl: You are right, it is a lot. It’s why most of us who do this are used to the 12-to-15 hour days in the studio. You get immersed in it, and I have to say, I love it. It’s a nice feeling to have your hobby be your profession as well! That’s how I feel about the studio aspect of it. I finally feel like I’m living my dream: to have my own studio and be able to provide musical, great sounding drum tracks for people who want them, without ever having to leave the house…me or the client!

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