In today's music industry, individual remote session recording has become commonplace. While producers, songwriters, engineers and players (myself included!) still strongly prefer having everyone record in the same studio at the same time, economic and logistical issues often prevent that "best-case scenario" from happening. I've lost count how many times I've gone into a big studio for a session to find out that I would be laying down drum tracks by myself, and the rest of the instruments either already had, or hadn't yet, been recorded.
I'm pleased to offer high-quality, affordable, multi-channel custom drum tracks for your recording from my fully-equipped, professional recording studio.
Any decent recording engineer will tell you that while mic placement, gain structure, and use of equipment is very important, the most critical aspect of recording is the source. One can have all the top-end gear in the world, but in order to make a truly great recording, you need players who get a big, musical sound, great time, and the experience and savvy to make the right musical decisions. I draw upon over two decades of experience in (and out of) the studio, and almost 10 years in my own studio, to bring an approach to your music that is solid, versatile and musical.
Below is from an interview with recording guru and preamp builder Geoffrey Daking (Modern Drummer, Sept 2005):
Q: "What makes for a great drum sound? What's the recipe?"
Daking: "It's the drummer. I mean, you never heard Bonham sound bad. Some drummers just make a drum sound great. [Bernard] Purdie would come in and sit down on a mediocre kit and make it sound great just by how he played. I don't honestly think the drums are that important--certainly not as important as the player."
I will always strive for the greatest sound, feel, vibe and performance at the source, and capture it as faithfully and accurately as possible.
Up to 16 channels. Everything individually miked. Even hi-hat, bottom snare and stereo room mics are standard. Spot ride if needed or upon request. I understand that as an engineer, producer or artist it's important for you to have options, and I will give you as many as you realistically will need.
A roughly 320-sq-ft asymmetrical room, sonically isolated and specifically tuned for a great drum balance. Neither too big nor small; neither too wet nor dry. Room mics by themselves sound fantastic and give a great sense of the ambience of the room.
The right snare drum for your song: over two dozen snares, ranging from wood to metal, tight to fat, ringy to dead, wet to dry, solid shells to ply shells, and everything in between. I couldn't possibly bring all of them to an outside studio.
Different bass drums for different applications: small, 18" open-toned for a jazz, Motown or James Brown-type of sound. Big, 18x22" cavernous rock sound. Smaller, shallower 22" and tighter 20" sounds for something in between.
Around 50 cymbals. Bright, dark, short, long. Rides of every variety. Splashes, special-FX cymbals, specialty hi-hats, etc.
It's not even remotely feasible for me to bring all this equipment to an outside session, yet all of this is instantly available, because obviously I keep it all at home. When I go to a session, I bring the gear that beforehand I deem most appropriate. However, at my home studio I often discover, through experimentation, combinations that make for a more interesting sonic palette as a result of having all my options available to me. Having my entire collection of instruments to choose from is a luxury and an advantage.
After all that "paralysis by analysis", my main, NUMBER-ONE objective is to bring a killer FEEL to the song at hand. Nothing else matters to me, nor I would imagine to you, nearly as much. I hope you find my recorded examples to demonstrate that. Thank you for your interest!