In the live room at Hackney Road, the room is setup with a ‘dead’ end and a ‘live’ end. I will then get the drummer to hit the snare while I walk around the room again, to find a good spot for the room mics. When I’ve found a spot I’m happy with, I then set the snare up there, and start setting up the rest of the kit around that. Whether acoustic or electronic, getting the drum groove right from the start is the bedrock that the rest of the song is going to be built on top of. In this opening part of the series, we’re going to look at the first stage in most modern recordings: recording the drum kit. The engineering for both recordings was done in the SSL room at Hackney Road Studios, London, with assistance from Indi Brodley. This track will have a looser feel and a more traditional rock sound, driven by acoustic drums, electric guitars, electric bass and an organ. The other track we will be looking at is Shore by Reptile. The first of these songs is Fade by Lock, a modern-sounding electro-rock track combining electronic and acoustic drums with synths and guitars. In this new series, we’re going to follow the development of two songs – both very different in terms of style and instrumentation – from their start in the tracking studio, through editing and mixing, to their final mastering, ready for release. However, by looking at each process in isolation, it can be difficult to see how the whole fits together to result in a finished song.
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