I can still play the bass drum too but I’m not holding down the fort. And it’s like, good, if we can play with the tracks, that means I can, like, PLAY. To us, it’s like whoa that’s pretty magical…You’re a good musician, you think that’s what you have to do, but you try it and learn it’s not as important as you think it is. And Nigel’s like playing bass and keyboards and looping things and doing a vocal thing and Laura the same. It was a lot of work, it was super cool because we were doing it but you’d have to be a nerd and be like, excited, because at a show, you just hear the music and if you look at the stage, it’s mostly me looking like I was knitting, triggering pads, and trying to keep triggering loops. We (Ultraista) were doing stuff where we were doing that music which is pretty experimental and electronic and we committed to not using tracks. Because each song has a separate bass drum sound… were on playback and I wanted to play off of them. The obsession over different bass drum sounds is completely achieved. It’s better for me to be ‘acoustic drum guy.’ What’s gonna work with Ultraista is somewhat of a similar idea but it’s more like, ‘We can use a small regular drum set and intermingle that with programming.’ But the last time we were doing stuff, I was like, ‘Let’s use the bass drum on the tracks.’ It gives it this quality where it’s like, we’re trying to make it electronic hybrid. And if you’re gonna be stock, that’s great, that’s fun but so many of the collaborations I’ve done over the years, there’s the mentality of everyone’s trying to do something new…And with Thom, he’s super deep into. A lot of people do stuff like that but I’m definitely into the idea of how do you make a drum set that doesn’t sound stock. I have a whole kit that’s set up that’s like a tiny…A children’s 16” bass drum and tiny snares and teeny tiny hi hats from Istanbul and noisemakers. I’m way down the rabbit hole on that stuff. That ends up being like tiny snare drums, etc. What will sound like live drums but a drum machine if I’m just playing for a live show? And this is going to be cool because then it’ll be a palette for recording. But my go to is definitely like how do I interpret…how can I reinvent the wheel on this and show up with…I’ve developed a whole kit around. Like, a jazz drum kit - let’s see what happens. “For sure, if we’re doing stuff, there’s definitely a discussion. When asked about playing with Thom, he mentions using smaller kits and also playing along with sequenced drums (”tracks”) instead of replacing them during recording: He mentions using an unusual Ludwig Nesting Kit from the 70s (S-340?) when tracking with a few people, including Nigel. Joey did a nice drum-centric interview with the podcast Drum Candy. In general, a cool open cozy spot with gobos and everyone playing in the same space. The BX-10 is a classic reverb - technically a spring but does not sound like one (no typically springy “boing” sound). Roland CR-78 and AKG BX-10, on top of the previously known Neve 1081 rack. U67s (or possibly U87s) on sax and flute Judging by the stand connector, a U47 FET on upright bass stereo pair of AKG 414s (can’t tell if they’re EB or B-ULS - they look a little too big to be the tube AKG C12As) Nothing about the placement of any of the mics is too esoteric - mic’ing the bell of the horns and the bridge of the upright: You can also see some known bits of Nigel’s synth collection: Moog modular, Prophet 5, etc. A mono SU-017 seems to be a room mic in two of the videos. You can also see a lot of blankets creeping around the gobo, suggesting the kick is heavily covered for separation. On Tom’s drumset, all you can see are a 4038 and an M49 as overheads. Just conjecture, but he might be taking advantage of the polar patterns to get both the piano and vocals at the same time in figure 8. Unclear if both mics are used but the track is stereo on the record. Nigel’s setup for Thom’s piano on “Pana-Vision” looks like a pair of AKG C12s aimed at the hammers. 660, you can also see Tannoy speakers similar to the ones at Jonathon Wilson’s 5 Star Studios in Los Angeles. It should be noted that in addition to the known rack with Rev. You can see Johnny, Thom and Tom (Skinner) playing together, Thom doing some delay dubs on the API desk while Nigel seems to be operating the multi-track from a Mac ( interesting to see him work digitally vs. On Twitter, Nigel posted some cool footage from sessions for The Smile’s new record. Video from The Smile sessions and Nigel’s studio.
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