Recording, recording, recording.
From the moment my studio became operative in November last year, I've been recording drum tracks for people all over the world, practically non-stop. But more recently, things have shifted up into 6th gear. I'm literally spending every day at my studio, recording, trying to keep up with the constant flow of incoming tracks to record. It's come to a point where if I am unable to record for a day, I'm going to have to be working twice as long the next day to catch up. Next to the actual drum recording, I spend a lot of time getting different sounds for different artists/songs, and then there's the post production and editing, sending tracks back and forth with people, going back in to record some changes, etc. Most people request a mixed stereo track of the drums next to the individual tracks, which adds up time. PC in on 24/7, uploading tracks to people. It's awesome.
Next to dozens of tracks for local NYC bands (mostly pop and indie rock, some very cool stuff), I've completed drum tracks for some great music composed by my Dutch friends Grain (Tori-Amos-ish alternative piano-pop/rock) and Noud Smeets (awesome 90's style riff-metal)
Furthermore, I'm working on tracks for Trans-Siberian Orchestra guitarist Angus Clark's upcoming album, and just finished an instrumental track for KorN guitarist Shane Gibson for a compilation album on the Magna Carta label.
People seem to be digging the sounds I get at my place, and obviously save the costs of having to rent a studio. The words is spreading, and my email box is filling up with new project requests every day. I always saw myself more as a live drummer than a studio guy. I don't mind doing session work, but never really got into that scene too much. I like to be at least somewhat emotionally connected to music I record, rather than just walking in some studio somewhere, laying down a drum track, and leave. But working from the comfort of my own studio without any time pressure and with the ability to experiment with sounds and grooves endlessly and become one with a song is priceless. This is not only cool from a creative standpoint, but also because I'm a total recording gear nut and love spending hours messing around with different mics and drums/cymbals, heh.
Anywho, I should be posting a ton of samples when all this stuff comes out... Stay tuned.
Cheerio,
d.
Next to dozens of tracks for local NYC bands (mostly pop and indie rock, some very cool stuff), I've completed drum tracks for some great music composed by my Dutch friends Grain (Tori-Amos-ish alternative piano-pop/rock) and Noud Smeets (awesome 90's style riff-metal)
Furthermore, I'm working on tracks for Trans-Siberian Orchestra guitarist Angus Clark's upcoming album, and just finished an instrumental track for KorN guitarist Shane Gibson for a compilation album on the Magna Carta label.
People seem to be digging the sounds I get at my place, and obviously save the costs of having to rent a studio. The words is spreading, and my email box is filling up with new project requests every day. I always saw myself more as a live drummer than a studio guy. I don't mind doing session work, but never really got into that scene too much. I like to be at least somewhat emotionally connected to music I record, rather than just walking in some studio somewhere, laying down a drum track, and leave. But working from the comfort of my own studio without any time pressure and with the ability to experiment with sounds and grooves endlessly and become one with a song is priceless. This is not only cool from a creative standpoint, but also because I'm a total recording gear nut and love spending hours messing around with different mics and drums/cymbals, heh.
Anywho, I should be posting a ton of samples when all this stuff comes out... Stay tuned.
Cheerio,
d.
Labels: Grain, Magna Carta, recording
