In the studio with Gloryhammer

PQleyR

Platinum Member
I've not posted this in Your Playing simply because there's not much of my playing in it, so it's more of a general interest thing.

I'm currently at LSD Tonstudio in Lübeck, Germany, recording the debut Gloryhammer album which will be out on Napalm Records later this year, if all goes to plan.

At the moment here there's just me, keyboard player/project mastermind Chris, and Lasse Lammert the producer. We finished tracking drums yesterday, and we've all been amazed at how good these drums are sounding. Lasse has said it's the best drum sound he's ever recorded.

Fortunately for you all, he's uploaded a few seconds of multitrack to his site, so you can hear just how good it sounds. The combination of the D6 and the Beta 91 on the kick is just awesome. There's no EQ or compression on any of this yet at all, this is raw unprocessed audio.

The kit is a Yamaha recording custom, 10", 12", 16", 22", with my Dream cymbal setup which is 14" Energy hats, 22" Energy ride, 2x 17" Contact crashes, and 16" and 18" chinas. Mics/preamps etc are as follows:

Kick: D6 + beta91 -> D.A.V
Snare Top: sm57 -> API
Snare Bottom: sm57 -> API
Rack toms: md421 -> D.A.V
Floor Tom: PR30 -> D.A.V
Hats: mk012 -> D.A.V
Ride: c414 -> 1073
China: mk012 -> D.A.V
Overheads L: KM184 -> API
Overheads R: KM184 -> API
Rooms: R121 ->1073

Here's a photo of me in the drum booth:



And here's a video of the drums being edited by a horse drinking a cocktail. The cocktail is a caipirinha. I made it myself.
 

PQleyR

Platinum Member
How dare you, that's my normal attire! My colleagues dress similarly, as you can see here. I thought that was how everyone dressed nowadays.

PS: Thanks so much to Andy/keep it simple for the invaluable advice about transporting my gear safely to the studio! Everything arrived totally safely. I'm so glad I brought my own snare and cymbals, this would not have sounded anywhere near the same if I'd used something else.
 
Last edited:

Andy

Administrator
Staff member
Hey Ben, this is exciting, & you're playing in the recording snippet sounds great. I'm so pleased the logistics worked out thus far. Crossing my fingers that the same will happen on the return leg :)

I'm curious as to why you'd choose to record in Germany. Obviously, there was a reason/reasons for taking such a trip c/w additional expenditure. Producer?, label?, package?

Anyhow, the tracking multi's were interesting. I love dry capture :) There's no doubt you've got the material down to come up with a great drum sound for the genre. I especially like the raw material from the bass drum. It's all there, & just needs crafting. Toms sounded a bit less than full in the raw, a bit naturally lifeless, although it's obviously a dead room. Nothing to concern about, because it can all be brought out later, but I'm not a fan of the basic tom sound. cymbals sound good. Plenty of atmosphere to play with there.

As everything you do is really well done, I have no doubt that the end result will be nothing short of spectacular :)

& Uniongoon, where have you been man, Ben's look is right at the top of fashion! Just ask Richie Blackmore ;)
 

PQleyR

Platinum Member
The reason for recording here was partly because Chris has worked with Lasse on the three Alestorm albums, so he knows he can do a good job. Also, Lasse was keen to work on this as he's excited about the project, and also I think it was probably cheaper in total to record here even with the travel costs. Given that we've got band members all across the south of the UK, in the Netherlands and in Switzerland, wherever we recorded we'd incur travel costs. I think it's a one-off studio fee rather than a day rate, also.

The drums have been recorded in a very dry room-in-room-in-room to get a really good direct sound with as little bleed as possible, for ease of editing, and then after the editing's finished Lasse will sort of 're-room' the drum sound by playing it back in the live room and recording that.

Funny story about the toms actually. I got here on monday and the plan was to get everything set up and mic'd ready to start recording on tuesday. However, we absolutely could not get the Evans G2s we'd ordered for the batter heads to sound any good at all. We spent perhaps five hours tuning them until we finally gave up. They had a really strange growly dissonance to them that was impossible to eliminate in any tuning range. In the end, we went and bought Remo Emperors the next day which were fine. Never had this sort of problem with brand new heads before. Maybe someone from Evans can enlighten me, was there a bad batch or something?

Since we finished tracking ahead of schedule, there's been extra time for some editing and even a basic mix. I know what you mean about the toms but I find for this style of music, toms need almost as much EQ as bass drums to really sound right. Usually the first harmonic needs boosting and the second needs cutting a bit, plus a bit of high-end somewhere in the 2-6kHz range. But I like them on this actually, it reminds me of the tom sound on Seasons In The Abyss.
 
Top