Matt's Signature Snare
So I'll briefly mention the snare here but then it might be actually cool to get into the tuning process.
So this snare drum in particular is a drum that I helped design and put together just based off a very specific sound that I was going for. Yeah, exactly. A good idea. So, let's bring it around this way. This drum's called the Wraith It's a mapex black panther snare drum and I really kind of in my process of playing drums as long as I have, I've always been a huge fan of brass snare drums. And I've always wanted a sound that specifically and peripherally that can cut through both in a live setting and then can cut through in the studio. And that's flexible. So just by playing a lot of different drums over time and experimenting with different drums, this was sort of the speck that really made sense for me. It's a six inch depth, 14 inch diameter. The reason it's six inches is just that I never really enjoyed snare drums that are just too deep. It feels a little bit funny ...
and the position of the stand.. You have to put it lower or higher, it's just depending on where you sit. But I really like this depth just from a field perspective. And then it has these vents around it here in three different spots. It's nine vents total. To help make a very dry, quick kind of sound. You still get the overtone of the brass and obviously brass is a beautiful sound that resonates but it's not as ringy, or it's not as I don't know..
Yeah resonant, in certain ways. Which again is really nice because it's very controllable. You can make it a little bit more damp or depending on the room itself, it can really actually have quite a lot of echo in it almost when you hit it so that kind of adds to the resonance. But it really worked for our sound for recording Juggernaut. We ended up using it on like 14 out of the 16 songs total.
And it just translated great so one of the things that we're going to do and actually hop into in a second is Nally's going to go through and just actually walk you through and show you his tuning process for both the toms and the snare drum. So actually let me hand this to you now.
And just to talk a little bit about snare drums and snare drum materials... Brass and metal snares in general are the favorites among engineers. The reason being that the metal drum just tends to be a lot louder. When you're recording drums, you have really loud pieces of metal that the drum is hitting. Creating a huge amount of noise in the room. And you're also trying to get a reasonably direct signal in the microphones on the shelves. Those two things really don't go together. So the louder the drums themselves can be, the more chance you have of getting a more direct sound in the microphone. The louder it is to get above the level of the cymbal. Especially the high had. The high had is always the nightmare of every recording engineer. It's so loud and positioned so close to the snare in general I will also say that it's very difficult to reduce the sound of a drum just to the material it's made out of. If you take an average snare drum that's made out of metal. Let's say any metal. Generally steel, adminium, brass, sometimes copper and compare that with your average wood drum... Maybe a maple drum, a birch drum.. You'll generally find that a metal snare drum is going to have more top-in information. It's going to be a more scooped sound. With more exaggerated lower than top end. Now there's exceptions. You can get really thick wood drums made out of very dense woods that are super loud, really bright. You can also get metal drums that are really quite round sounding. The rafe drum in particular is actually I would say it's quite dark for a metal drum. But it's got a lot of volume. And just to talk a little bit about drum terminology.. When you're saying a dry sound to a drummer that means not excessive ringing. And not too much in the way of overturns.
Yeah you don't get that boing sound when you hit it.
Yeah. And when you say open generally, I don't know if you said open. But drummers sometimes refer to a sound as open and that tends to mean it's much ringier. And that tends to be favored by more lighter-hitting drummers, I generally find. In the studio generally what you want is like a burst of information from the drum and then a reasonably clean sustain. So something like having a vented snare drum is really great Again, it means I use less muffling and we still get a tight sound that rule the character of the drum.
Periphery is one of the most influential bands in the progressive rock/metal scene. They’re known not just for being great players with great songs, but also self-producing their most recent double album “Juggernaut.” In this class, you’ll get an exclusive, behind-the-scenes look at exactly how they did it, lead by Periphery bassist/producer Adam “Nolly” Getgood and drummer Matt Halpern.
First, they’ll track drums live in the studio, showcasing some of the techniques Nolly uses to capture Matt’s unique, nuanced performances. They’ll cover their approach to tuning, mic selection, mic positioning, and some of their own tricks for handling mic bleed and other common challenges.
Next, they’ll walk through a complete mix using an actual session from “Juggernaut” and the drum tracks they just recorded. They’ll cover their overall approach to mixing, then go into detail on approaches for compression, EQ, and effects for every instrument.
This class will also include all of the samples that Matt and Nolly record live on the air available to download along with a bonus video of Nolly showing how to mic a guitar cabinet using the technique that he used to get the guitar tones on the Juggernaut album.