We’ve been collecting amazing-sounding instruments and recording gear for decades, all housed in our own Triple Colossal Studios. Take a look around and see where your drum tracks are born.
API 3124+ 4-Channel Mic Pre
Audient ASP880 Eight-Channel Mic Pre and Converter
Daking Mic Pre IV 4-Channel Mic Pre (2 units)
Magnacordette 2-Channel Tube Mic Pre (vintage)
Inteface and Converters
RME Fireface UFX Interface
RME ADI-8 DS 8-Channel Converter
ADAM A7x Monitors
Yamaha HS8 Subwoofer
Mac Pro 3.5 GHz 6-Core Intel Xeon E5
Logic Pro 9 and X
KuSh Audio Gain Train Monitor Control System
ART HeadAmp 6 Headphone Amplifier
GIK Acoustics and Auralex
Large Diaphragm Condensors
AKG C 414 XLS (Stereo Pair)
Audio Technica AT 4047 (Stereo Pair)
CAD M179 (Stereo Pair)
Groove Tubes GT55
M-Audio Sputnik Tube
Shure MX393 Boundary mic
Small Diaphragm Condensors
Shure KSM137 (Stereo Pair)
Little Blondies (Stereo Pair)
Sennheiser ME67/K6 SuperCardioid
Cascade Audio Fathead II (matched pair)
Coles 4038 (matched Pair)
RM BIV-1 (matched pair)
AKG D112 dynamic (x2)
Audix i5 dynamic
Audix D2 dynamic (x2)
Audix D4 dynamic
Audix D6 dynamic
Beyerdynamic M81 dynamic (vintage)
Electro-Voice RE20 dynamic
Electro-Voice 635a dynamic
Sennheiser MD421 (x3)
Shure SM57 (x3)
Canon Vixia HF G20 2.37 MP Camcorder (x3)
GoPro Hero4 12.0 MP Ultra HD Action Camera (x3)
Blackmagic Design ATEM Television Studio Production Switcher
Blackmagic Design 17″ SmartView HD Studio Monitor
Atomos 4.3″ Ninja 2 Video Recorder
Blackmagic Design Intensity Shuttle with Thunderbolt
Do you create a custom drum/mic configuration for every song?
Yes. Although we definitely have go-to configurations for certain sounds (big drums for rock sound; tight, heavily muffled kit for old school breakbeats; an open smaller set with calfskin heads for music referencing 50s/60s pop; etc.), every song has completely different sonic requirements. We’ll swap drums, cymbals, or heads, change muffling and tuning, add or remove gobos, change sticks, remove bottom heads, play lighter or heavier, whatever it takes. We take great pride in getting the right sounds for your songs.
Once we have the kit tuned up and ready, we choose the right mics to bring out the right qualities for your tracks. It changes every time, but we have some standard configurations listed below.
What is your microphone configuration?
Every song is different, of course, but we generally choose something from the list below. This is a basic starting point that we feel gives you a huge amount of flexibility when it’s time to mix your project:
- Kick In (EV RE20, Sennheiser MD 421, AKG D112 or Audix D6)
- Kick Out (AEA R84, AT 4047, M Audio Sputnik, Audix D4 or D6)
- Subkick (Solomon LoFrEQ)
- Snare Top (Shure SM57 or SM7b, Audix i5)
- Snare Bottom (Shure SM57, Audix i5, Shure KSM 137, AKG C414 XLS)
- Hat (AKG c451 b, Shure KSM 137, SM7b or SM57)
- Overheads – Stereo Pair (AKG C414 XLS, Coles 4048, Shure KSM 137, AT 4047)
- Toms (Sennheiser MD421, Audix D2 or D4, AKG D112, AKG C414 XLS, CAD M 179)
- Kit Center (BLUE Dragonfly, EV 635a, various oddball vintage mics)
- Room Close – stereo pair (Coles 4038, AKG C414 XLS, AT 4047, RM BIV-1)
- Room Far – stereo pair (AKG C414 XLS, Cascade Fathead II, RM BIV-1, Little Blondies, CAD M179)
- Hall – stereo pair (CAD M179, EV 635a, Shure SM57)
As you can see, there are a ton of options there! The nice thing is, you can mute any combination of mics if you’re looking for a simple configuration, while having a lot of options if needed.
What preamps and converters do you use?
We tend to try different things out fairly often. Right now the bulk of our drum sounds come from two Daking MicPreIV units and an API 3124, plus an Audient ASP 880 for utility duties. Conversion is by RME, with a Fireface UFX and ADI-8 DS.