Drum Recording Mastery with Pierce the Veil
Recently, I had the incredible opportunity to record a cover of "Karma Police" with the band Pierce the Veil at Signature Sound Studio in San Diego.
As an audio engineer, capturing the perfect drum sound is not only a pivotal part of creating a track that resonates, but it was also one of the highlights of the original song that influenced the overall vibe of the song. Here's a behind-the-scenes look at the recording techniques we used to achieve this dynamic and impactful drum sound.
Our session took place in Studio A, renowned for its fully loaded 32-channel API 1608 console and a spacious live room measuring 31′ x 27′ with a 17′ ceiling. The old '80s recording studio aesthetic of faux brick walls and an old parquet floor not only set the mood but also provided the perfect room acoustic properties for this track. Navigating a new room can be a challenge, but with the assistance of award-winning engineer and mixer, Christian Cummings, we were up and running in no time. His knowledge of the room was invaluable, guiding me on the best placement for the drum kit in the live room to exploit its natural reverb and warm characteristics.
The essence of "Karma Police" demanded a layered approach to capturing drum sounds, targeting three types of ambiance: close, mid, and far. I wanted to make sure each part of the drum kit could shine through in the mix, not only providing depth but also a sense of space. A basic assortment of microphones was used for close miking positions. Carefully placed gobos and an area rug helped keep the close mics dry. Instead of close miking the cymbals, I opted for an "overall" drum sound using a pair of Bock 251 overheads. They were placed slightly higher than usual to take advantage of Lonnie's consistent drumming, which practically pre-mixed the drum sound with his performance. For the mid ambiance, Coles 4038 ribbon mics were positioned about six feet in front of the kit in a spaced pair configuration. These microphones offer a smooth, warm sound and have the ability to capture high-frequency detail without harshness. This is what I built the entire drum sound around. All of the close mics needed to reinforce the room mics, especially the Coles. For the expansive room sound needed for the song's explosive ending, Beyer M88 mics were placed about 15 feet back in an XY configuration.
The API console did a wonderful job of making the drums punchy and full, but the overall vibe was missing a little bit of that "magic." I knew exactly what it needed; a little love from the El Juan Limiter. Giving the Coles a healthy dose of limiting, along with input shape set to Punchy, really brought them to life. A nice lift in the bottom end from the Tone Shaping finished it off nicely by adding a satisfying heft to the entire kit. Everyone was like "damn, these drums sound sick". The prototype for Puff Puff mixPass also made an appearance on guitars and bass, but that's for another story.
A lesson I've learned early in my career is to commit your sounds to 'tape' during the recording stage. Why wait until the mixing phase? We printed the room sounds through the El Juan Limiter, ensuring that the drum sound we fell in love with was captured exactly as we wanted, forever.
Recording at Signature Sound with Pierce the Veil was not just about utilizing the studio's top-tier equipment; it was about creating an environment where technology meets creativity to capture a sound that truly stands out. This session was a testament to the power of experience, technique, and a little bit of studio magic.
