Audio Engineering

Secrets of Drum Recording with Simon Phillips

Comments (23)
  1. L Scott Knight says:

    If a bunch of you great producer/musicians got together and made an album how awesome would that be? The question is, however, would it ever get finished? For a dozen reasons up to “We don’t want to stop, this is too fun”, it might not. I suspect finances would be the final rain on that parade. (cue scene at end of very long jam session when the power goes out. “Guess it’s time to get back to work guys!”)
    I seen and commented on this video before so I’ll just say, “The journey is the thing. So, sojourn on!”

    1. Warren Huart says:

      Hi @l_scott_knight:disqus Haha I imagine that would be right! But it would be an amazing time working with the best of the best! Have a marvellous time recording and mixing, many thanks Warren

  2. 3rdstone says:

    That does it! I’m going to have to break down and take some notes.
    I just watched again for the 3rd time, and realized I still have not absorbed all of this most useful information..
    Cheers
    _Steve A

    1. Warren Huart says:

      Hi @3rdstone:disqus Haha I hear you! Simon rules! Have a marvellous time recording and mixing, many thanks Warren

    2. ajay1572 says:

      Me too 3rdstone, As a drummer myself, I felt a real connection to Simon. I have aspirations of being a drummer/engineer and producer, what an awesome opportunity to see such an amazing interview!

      1. Warren Huart says:

        Hi @plap-disqus-aa942ab2bfa6ebda4840e7360ce6e7ef:disqus agreed Simon is a wonderful guy!! Have a marvellous time recording and mixing, many thanks Warren

  3. Gordon says:

    Hi Warren.

    I heard Simon telling you that he uses the “Transient Designer” on his ambient mics when he’s mixing the drums (I presume this is the SPL Transient Designer). In what way does he use it? Does he use it to increase the length of the drum strikes? Or does he use it to tighten things up and get more of a “pop” from each drum hit?

    1. Thiago Silva says:

      For what I’ve understood he uses it as a “sustain potentiator” if you know what I mean… This way causing/enhancing a roomy/reverbish sound (avoiding artificial reverb) … Interesting technique… Simon is awesome!!!

      1. Hayden Myhill says:

        I imagine he may also use it as you do a compressor on room mic’s while tracking,i.e. using a fast-ish (tune by ear) attack time so the snare doesn’t eat up the whole sound,then using release to hold the Overheads

        1. Warren Huart says:

          Hi @haydenmyhill:disqus Definitely, however for me I usually only compress my room mics that I consider to be ‘special effects’ such as a mono room mic for a trashy energetic sound. My stereo mics I leave clean going in and then compress when I mix. Have a marvellous time recording and mixing, many thanks Warren

      2. Warren Huart says:

        Hi @disqus_S3S716aG7P:disqus Yes quite a few drummers I know that record themselves use the SPL Transient Designer to control their room mics. Have a marvellous time recording and mixing, many thanks Warren

    2. Warren Huart says:

      Hi @disqus_O1gaaZ0Wzm:disqus Yes it is the SPL Transient designer! Have a marvellous time recording and mixing, many thanks Warren

  4. GBdrums says:

    Thanks to Simon and Warren for sharing all this unique inside Information – can’t stop watching it all over again.. I can feel an upcoming addiction 🙂
    Cheers,
    Gerd B

    1. Warren Huart says:

      Hi @gbdrums:disqus Thanks very much!! Yes Simon was extremely kind to share all of this amazing information!! Have a marvellous time recording and mixing, many thanks Warren

  5. MagicPowers says:

    I love how the, how can I say; ‘finely-aged’ engineers/mixers are every bit as creative as the writers/singers/musicians. We’re in such a cerebral/ analytical age where we’re focusing on tech & not technique. (Not that I’m anti-tech… in fact I may have ordered an Elysia xfilter 500 thanks to this heheheh) Stuff like a stereo ambient pair facing a wall, close together facing outwards or a paint pot in a bass drum! Reminds me of how me & mates used to record acoustic jams – sat in a circle with a cardioid dynamic mic in the middle pointing upwards & lean in when it’s your turn to solo 🙂 Did the trick! These studio tours are so immersive, Cheers

    1. Warren Huart says:

      Hi @plap-disqus-daca41214b39c5dc66674d09081940f0:disqus Agreed! Simon is a master, someone who has recorded, written, played, produced, engineered and mixed so many incredible things, his acquired knowledge is second to none! Have a marvellous time recording and mixing, many thanks Warren

  6. great video…really!

    1. Warren Huart says:

      Hi @plap-disqus-b2eeb7362ef83deff5c7813a67e14f0a:disqus Thanks ever so much!! Have a marvellous time recording and mixing, many thanks Warren

  7. Alex Guillermo Hurtado Villala says:

    The best 2 hours I speeded on the internet. I like to hear the different approaches of every engineer to record so you can either copy their techniques or to shape your own techniques and sounds, be original. I just want to go to the studio to record everything!

    1. Warren Huart says:

      Hi @alexguillermohurtadovillala:disqus wonderful! So glad you enjoyed the video with Simon, he’s a great guy, I had an amazing time! Have a marvellous time recording and mixing, many thanks Warren

  8. John Baltic says:

    That was great. Thank you. Of course, I’m going to try the paint can.

    What really made an impression was the concept of a drum kit as a multi-resonant instrument, so to speak, whose character is dependent on the various proximities and interactions among the pieces. Then the recording strategies. Also, being “microphone friendly” – which probably mostly means “practicing” our instruments a lot and “playing well”, lol.

    More seriously, great insight hearing about Simon Phillips’ workflow, signal chain, attention to detail (lol!), and the fascinating history. Even better, the very articulate explanations of the reasons WHY a particular strategy is employed or a specific choice has been made in the service of a song. The integration of insights from different areas of expertise, technique, and musicality is profound. Staggering really. Great stuff.

  9. Syklopz says:

    I keep missing the brand/model of the headphones he uses. can anyone help me out?

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