PretentiousName Posted November 19, 2001 Share Posted November 19, 2001 I'm a novice recording engineer, so I'm wondering if there are any tips/tricks you guys can give me for making the drummer feel comfortable and/or give the best possible take once in the studio. Thanks in advance. Link to comment Share on other sites More sharing options...
felix stein Posted November 19, 2001 Share Posted November 19, 2001 Always state the positive with the negative. Always say good job after session. Keep complimentary booze in studio. Never lose your temper and don't bitch. Everything thru rose colored glasses...get your routing together before client gets in there. felix's band Link to comment Share on other sites More sharing options...
Gaddabout Posted November 19, 2001 Share Posted November 19, 2001 Originally posted by PretentiousName: I'm a novice recording engineer, so I'm wondering if there are any tips/tricks you guys can give me for making the drummer feel comfortable and/or give the best possible take once in the studio. Thanks in advance. That depends. If you're working with a session guy, shoot straight and don't speak in generalities. That guy's getting paid to be a pro. If you're working with the band's drummer ... heck if I know. Sometimes those guys just don't belong in the studio, and you have to be prepared to tell them that. Too many times those kids come in wanting to shoot off their wad of licks for a studio recording, and they can't nail them under that type of scrutiny. You just have to pry those parts apart and whittle them down to only what he can play perfectly, and tell him to save the crazy stuff for the live show. Link to comment Share on other sites More sharing options...
Lee Flier Posted November 20, 2001 Share Posted November 20, 2001 Well... I think the biggest reason drummers love to work with me is because I listen to them. They set up and I listen to them play and really try to get the vibe of what they're going for. I ask them about the specific songs that are being recorded and what kind of sound they're going for. If they can give me specific examples of drummers that influenced them and/or records they would like to use as a jumping off point, so much the better. I just try to get an idea what the drummer is hearing in his head. Usually this alone shocks the hell out of them - they're not used to that. If possible, I also try to talk to the drummer before the session and find out if he's got new heads on the kit, ask him to check his hardware and make sure it doesn't rattle, that kind of thing (if he doesn't have much studio experience). Then when the kit is set up I tell him to beat the crap out of it for awhile while I listen. If there are any obvious problems, or obstacles that I see to him getting the sound he's told me he's after, I tell him. And having listened to him I can do it diplomatically, like: "Well, if you want a Bonham sound we won't be able to accomplish that with all that tape on the heads. Can we take some of that off?" Etc. Mostly I try to convey the feeling that this is an experimental process by which we both try to create the ultimate drum sound, and that I'm just as excited about the prospect of doing that as the drummer is. I don't have to fake that feeling either, because it's true. I think they know that. Another good thing to do to get comfortable is just let the drummer whale on the kit for awhile. Ask him to show off what he can do. Since the red light's not on and there's no pressure, he can just go off for awhile and get comfortable with the room, and if he's really showing off he'll hopefully feel like the God of Thunder by the time I'm ready to push the Record button! I'll joke around to get things relaxed, compliment him on cool stuff that he plays, etc. Again this is just something that comes naturally to me because I love the drums and I love recording drums, and it shows. --Lee Link to comment Share on other sites More sharing options...
DrummerCafe Posted November 20, 2001 Share Posted November 20, 2001 I think everything that Lee suggested is great. I would add that "great" engineers LISTEN to the drums acoustically and try and reduced THAT SOUND on tape. Don't go in and immediately try to change the sound of the drums or what the drummer is doing. As a professional, I get upset when an engineer immediate whines about my kit, having never come in to the booth to hear what it sounds like acoustically. On many an occasion the drums on tape sound terrible, but everyone agrees that they sound good in the room. That's not my problem ... it's an engineering problem. Now, having said this, I realize that this is very different when recording a kit that just sounds bad acoustically, or perhaps is being played by someone with little or no experience. So do what you can with the drums as they are before you start requesting to retune the drums, slap a pound of duct tape on the drumheads, or stuff several of your grandma's feather pillows inside the kickdrum. Oh, one more thing ... for goodness sake, wait until the drummer is finished setting their gear before you decide to start placing your mics. Engineers that are all up in my business frustrate the snot out of me! :razz: LOL Drummer Cafe - community drum & percussion forum Link to comment Share on other sites More sharing options...
Steve LeBlanc Posted November 20, 2001 Share Posted November 20, 2001 I get upset when an engineer immediate whines about my kit, having never come in to the booth to hear what it sounds like acoustically. AMEN! (wait a minute, can an athiest say that? kidding) It really does separate good engineers from bad (or just machine programmers). There are a lot of little things that can be done to aid the sound of drums in the studio but an engineer should know to always start with little things. Unfortunately there are far too many egos out there...engineers who are completely unwilling to adapt to anyone's personal preference...I hate guys like that. http://www.youtube.com/notesleb Link to comment Share on other sites More sharing options...
Jazzman Posted November 20, 2001 Share Posted November 20, 2001 Hi PretentiousName, I agree with the others on this thread completly. In my case, my drum set is in my studio, set up and miced. I always ask that the drummer to come into the studio prior to the real session date, to review the set-up and the his/her expectations. Also don't be afraid to tell the drummer what you would expect too. If the drummer comes into the studio prior to the session date, I may play a recorded song with my drum set on a tune so he/she can hear the end result if he/she has the time and is interested. This sends a strong signal to the artist that you know what you are doing and they can sense your respect, attention to detail, and that they can expect the same result. This is the time to break the ice with the artist. In addition, explain to them that you have no problem stopping a session if you hear any problems with the take, again showing attention to detail and wanting to really showcase the drummers abilities. Prior to the recording session and on that same day, explain to the drummer that you would like to hear him play the same as though he/she were to be on tape, so that you can make the necessary critical mic, and sound reinforcing adjustments. I respect the drummers that come in to perform. I complement them on the things that strike me as being good, tight, together, and really tell them what doesn't really work either. This gains their respect back to you. Again being a drummer, they do understand where I'm comming from. I really haven't had any problems with any other drummer so far(knock on wood). A couple of more thoughts: 1. Repeating, let the drummer come in ahead of time ( a different day if possible to break the ice for you and the drummer)to see the room, and talk about his/her expectations. State that the session must sound good before you can go on to the next step, and you will stop the session, and show or explain why, if it comes to that. 2. Remember that it is much easier to record the style of music that you are famaliar with, if this is under your control of course. If not, listen to some prerecorded songs of that type and get famaliar with that style of playing and sound they will be looking for. 3. If your an engineer for someone elses studio, and your TWA(Thrilling Work Assignment)is making the drummer feel at home there, do the following: Stay out of his/her way; be polite; ask him/her if they need any help; and let him practice prior to the session to set up the way he/she likes, reset the mics based on his/her final set-up; offer him/her a refreshment if he/she likes; spend a few minutes to discuss his/her expectations on the take. Go over the process to the artiest. Don't forget that maybe this artist has been there before, so test the waters first to eliminate any misunderstandings and embarrasment to you. 4. Take a deep breath.........do your thing with a smile. and hope that everything goes well. If not start to speak in a different language. LOL Some of my thoughts...................I hope that this helps. My fadeout.......... Jazzman Link to comment Share on other sites More sharing options...
Gaddabout Posted November 20, 2001 Share Posted November 20, 2001 Man, I completely misunderstood the question. Missed the part about being a novice engineer. If you really want to get on the drummer's good side, help him lug his equipment in. =) Link to comment Share on other sites More sharing options...
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