Knowing the Drummer's Playing Style
Lesson 26 from: Fundamentals of Drum Tuning and RecordingKris Crummett
Knowing the Drummer's Playing Style
Lesson 26 from: Fundamentals of Drum Tuning and RecordingKris Crummett
Lessons
Class Introduction
09:44 2Drum Head Replacement and Tuning
45:06 3Choosing the Right Drums
11:16 4Choosing a Kick Drum - DW 22x18 Evans Coated
12:55 5Choosing a Kick Drum - DW 22x18 Clear Remo Powerstroke
17:48 6Choosing a Kick Drum - DW 24x18 Clear Remo Powerstroke
14:06 7Choosing a Kick Drum - WFL 26x16 Clear Remo Powerstroke
15:29 8Choosing a Snare - Tama Monarch 14x6.5
21:14Choosing a Snare - Tama Starclassic Maple 14x6.5
06:43 10Choosing a Snare - 1950s WFL 14 x 6.5
07:46 11Choosing a Snare - Ludwig Black Beauty 14x6.5
07:40 12Choosing a Snare - Pearl Reference Brass and Tama Bell Brass War
12:26 13Choosing a Snare - Pearl Jimmy Degrasso 14x5.5
11:36 14Choosing a Snare - Black Panther Walnut 14x5.5
16:12 15Choosing Toms
05:12 16Choosing Cymbals
22:04 17Kick Drum Microphone Choice and Placement Part I
27:11 18Kick Drum Microphone Choice and Placement Part II
30:18 19Snare Microphone Selection and Placement Part 1
37:02 20Snare Drum Microphone Selection & Placement Part II
25:31 21Tom Microphone Selection and Placement
19:44 22Overhead Microphone Selection and Placement
41:42 23Room Microphone Selection and Placement
31:11 24Room Effect Microphone Choice and Placement
10:42 25Room Acoustics and Treatment Options
09:31 26Knowing the Drummer's Playing Style
12:01 27Final Thoughts on Drum Tones
15:28 28Tracking Drum Parts Separately
10:39 29Skype Q&A
19:37Lesson Info
Knowing the Drummer's Playing Style
The next thing I want to show you guys that justice crucial and anything else we've done today is is is knowing the drummer themselves and making sure that you're getting what you want out of the drummer as far as his performance and the ways hitting the drums to make sure that they sound the way you want because we've got all these drums too in the way we want we have ah all the mike's place the way we want but every drummer is going to make the kit sound completely different and that's just something that you can't get around but I can show you how to make the drummer play more like you want to get the sound you want and to demonstrate the fact on to kind of drive home the fact that the kit consigned completely different with everyone behind it I'm actually going to have a few different people in the room play the kit for me because I know we have a couple drummers here um and of course we have this drummer here but first I'm gonna have you played just for an example real quick becau...
se we've set up the kit around you're playing yeah play something that anyone could recreate just kind of the doomed doomed but do do but on the high hats I think so drummer tests you guys didn't know you're on the spot one sec all right, go ahead all right that's kj and uh who wants to replicate that beat can I get a volunteer all right and uh introduce yourself I'm being all right on give me one second and I will have you play the same beat go ahead cool and as you can see daniel's totally sufficient drumming he's he's obviously a good drummer but the kit totally sounds different anyone else want to take a shot or am I gonna have to do this you want to do this now andrew doesn't want to do this either you guys no no drumming in the blood I don't want to be the one to do this coming all right well I will do this I guess I'm gonna have to record myself I should have been listening to that beat a little closer okay crack got it way have ah mike from the booth who actually wants to come in and play yeah all right mike from the movement that might do it up first name mike last name from the booth guy looking up on facebook crush it all right you know the beat do you know the beet uh yeah sure. No problem. All right, mike from the booth way go cool a little bit different beat but it works on dh shows example no, I'm going to do this just because I'm going to represent the loud obnoxious guy because that's who I always am when I'm the drummer in the studio not from my mouth but from my over type sensibility when it comes to drumming um so I'm going to record myself on this one going to listen to the first one to get the tempo in my head again so now that it's rolling I will be attempting my version of the beat how I play naturally I'm a little bit taller I'm rolling so that's what makes me the loud obnoxious guy and uh I just told that joke a minute ago but you're not going to hear it, which is why I'd like to think that the response was a little less but it's probably just because it wasn't funny in the first place so let me play these back these are the examples of the different players move mine over because I had to you walk over to the kid so here's k j I'm not changing any levels and then here's daniel and here's mike from the booth and mike's is a little bit faster because he was in the booth and time goes faster in the booth and here is mine. My name is chris, which I will replay because I did not group all of the microphones that when I play magically only the overheads work and here's mine and my name's chris and clearly my playing style is quite a bit louder so some of the mike speaking on debts not really a good or bad thing. It's just a different thing, which I just wanted to really illustrate that every everybody plays differently and balances drums differently. So if, say, I was recording daniel, which I have, um, randomly in the past many years ago, um and I'll listen, this track um what I hear is that the drum sound really good the symbol sound good. The kick sounds balance, but the snare doesn't sound big enough or a solid as I want. So daniel, in a single? Yeah, you want to come back up? So what I would do in a situation like this, um where I have a drummer that he's playing great he's totally sufficient to be on the record, it's. You know, we have all the tones dial and everything's. Great, but I want a bigger snare sound then what's coming out of them. So play that beat one more time for me. Let me get my ear protection on just the way you did before just the bomb bomb thump. Now I see that I see that he's he's playing a little interested on the snare and that's totally fine that's a certain type of style, but for this song we're going to say it's like a big rock song and I want a really cracking, sounding snare. So what you want to do is a producer or a drummer playing on a record is no, the song you're working with and don't be afraid to talk to the drummer about altering his style just a little bit to get what you want out of the plane. Um, you know, you don't want it, I want not gonna come in here and be like, daniel, you suck, man, like, why can't you play this right? Like, you're not going to get anywhere if you do stuff like that. So, you know, drummers aren't idiots, you know, drums is one of the most complicated instruments in the average, you know, papa rock bands, so they're not stupid people, and they can work with you. So what you want to do is you just want to come in and you assess the playing like, I already have the snares and exactly how I wanted, and I can see why it's not quite how I wanted, so what I'm gonna do is I'm just going to come up, and I'm just going to be like, daniel sounds awesome. I really like what you're doing if you could just drop your elbow a little bit on your left hand and when you're playing the high hats. Bring angle this stick a little more so you're getting a little more shoulder a little more angle actually, yeah, getting a little more shoulder on it and then lower this one a little bit. So you're stick is hitting the room every time and but bring your race it back a little bit, so you're hitting right in the center so play that beat one more time and there's a little more force in your left hand the rest of your body the same way because it sounds great. Go ahead and now we have a way more rock and snare and it's the way that, you know, we pictured the song in the first place and daniel doesn't have to, like, be a totally different person. It doesn't have to get fired. All you have to do is just say, hey man, you know, maybe make a little alteration here do this or that um and that will make a really big difference in the end and that's the difference between me sound replacing the snare or having to take really drastic measures or just fixing it from the source and getting it right, and then I have really awesome drums and that's basically what I would do and that goes for any any of the drums, anything is not just snares downstairs, just my example
Class Materials
bonus material with purchase
Ratings and Reviews
Kevin Howard
Kris is methodical and goes over everything related to drum recording in great detail. He covers heads and even how much moon gel he uses for damping the heads, Mic placement, shell choice( size, wood etc ). Listen to Dance Gavin Dance to hear some of his work. I found this class to be super informative and very practical in it's approach. Thank you Kris !
Mike
this is a great class! i play drums personally, and i love percussion! he also teaches well
Brent HALENKAMP
This is an amazing class! Kris is a very scientific instructor. This really opened my eyes to the drum recording process. Take Notes!!!! There are about a thousand unique facts and techniques that you should know. This will help you to record drums correctly at the source so that you can minimize the amount of digital destruction you will do later and thus get a "Professional" sound.
Student Work
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Recording Drums