I pride myself on creating drum parts that are interesting, fun to listen to, and above all else, in service of the song at hand. The drummer can make or break a song, and it's very important to me that your songs should feel as good as they possibly can.
There was one incredibly special gig I played with Horns Become Halos when I was 14 years old that completely changed my outlook on music. It was our album release show, and there was this intoxicating feeling of hearing the lyrics to songs we wrote being screamed back at us from the darkness of the sold out hall. Looking back on it now, it is, without a doubt, the single most important experience I have to look back on as a musician. It not only serves as a reminder of how wonderfully fulfilling the experience of making music can be, but it sets the bar for the specific feeling I hope to pass on to everyone who chooses to make music with me.
Chasing this wonderful experience defined my career path. It pushed me to get a degree in music and to try my hand at every musical situation I possibly could in a never-ending search for new challenges and inspirations. It’s taken me to many different parts of the country and the world abroad; into the biggest sold out theaters alongside the most intimate jazz clubs. I put my all into everything that I do, and approach every project I engage in from the perspective of the listener, focusing on making creative choices that suit the music, above all else.
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4 Reviews - 1 Repeat ClientEndorse Adam Soucy
Did a great job analyzing my parts and created a great part that served the track.
I can't say enough positive things about working with Adam. He's talented in so many ways that goes beyond his ability to play. His ear is as keen as they come, and he's helped me explore ideas for my songs that I'd never even considered. And they're all the better for it! Adam is absolutely my "go-to" for drums, and I'm already counting down the days until we can collaborate again.
Adam is soooooo good! Seriously. If you're on his page, congratulations, because you've found a remarkably talented drummer. I had a fantastic experience working with him on my song. He's exceptional at interpreting what a song needs, and he's an incredible listener with creative ideas. My song turned out even better than I'd expected!
Adam is a great professional to work with. His track came back great the first time and he clearly knows what he's doing. Don't hesitate to work with him on any of your projects.
Interview with Adam Soucy
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The two releases I did with Major Moment. I was brought on as a drummer, but took on a much more impactful role once we dove into production, doing everything from lyric writing to singing. I'm so proud of how those records turned out and probably always will be.
Q: What are you working on at the moment?
A: Currently in the midst of Co-Writing and Producing Anna Madsen's "Exorcisms" EP, which is going to scare the pants off of everyone who hears it.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Jimmy Keeley IV, producer/guitarist! Great friend of mine and a fantastic musician.
Q: Analog or digital and why?
A: Analog gear won my heart a long time ago. You can get SO FAR with the plugins we have today, but there's just a romanticism of tracking on a real console to a real tape machine that feels like nothing else.
Q: What's your 'promise' to your clients?
A: Your song will be right, and you'll have everything on time.
Q: What do you like most about your job?
A: The pure joy that comes from creating something.
Q: What questions do customers most commonly ask you? What's your answer?
A: 80% of the time? Drum vocab. Differences between ride cymbals and crashes, chinas and hi-hats, etc. Drummers have a lot of stuff, it's all good!
Q: What's the biggest misconception about what you do?
A: That you can fix everything "in post". You can only ever improve a performance one letter grade with editing, and you'll always get a better result from a high quality performance.
Q: What questions do you ask prospective clients?
A: I honestly try to keep the questions to a minimum as much as I can! I'll ask about arrangement things I'm unsure about as well as tech questions and deadlines, but that's about it! The songs usually speak for themselves!
Q: What advice do you have for a customer looking to hire a provider like you?
A: Just to trust me. You are handing me one of your babies to put my mark on, and I don't take that lightly. I understand how it feels and I will handle your project with care 🖤
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My K Custom 21" Dark Complex Ride, my Sonor Protean Snare Drum, my Sonor SQ1 Kick Drum, a C414 and a Neve 1073. Hopefully a recording interface washes up on the shore!
Q: What was your career path? How long have you been doing this?
A: My music career started to get serious when I was around 14 years old. I was playing with a pretty well established hardcore band at the time and it was my first taste of how amazing playing music can feel, both live and recorded, and how many different places it could take you. I played with other bands and studied jazz all through high school into college, where I got a degree in Music Business as well as a real taste of what it was like to be a working musician. That's really where I decided it was time to go full-time. Right out of school, I got a "house session player" gig at a recording studio that eventually led to a tour in Europe and hundreds and hundreds of freelancing gigs thereafter!
Q: How would you describe your style?
A: Precise? I suppose? I think every single note you play matters, so I really try to get every single nuance exactly right.
Q: Which artist would you like to work with and why?
A: How much time do you have?
Q: Can you share one music production tip?
A: Get your phasing right. Not just on drums, on every instrument. When all of your microphones are in phase, you'll achieve a level of clarity that you just can't get any other way. I take phase relationships a step further with a pretty amazing plugin called Auto Align to really bring everything into sharp focus; I consider it a pretty huge part of "my sound" too!
Q: What type of music do you usually work on?
A: Primarily Rock and Pop and all of their many sub-genres, (Singer/Songwriter, Metal, Indie, Synthpop, you name it). In the world of live music, I spend quite a lot of time playing jazz and country as well.
Q: What's your strongest skill?
A: I try to pull as much emotion as I possibly can out of every song that comes my way. I'm a huge fan of the idea of "text painting" so I pay really close attention to lyrics and try to accent and bring out as many feelings as I can from what the vocalist is singing about and how they're saying it. It's extremely important to me that I get that part right above everything else, and I like to think that I'm pretty good at it!
Q: What do you bring to a song?
A: I try to be as creative as I can in coming up with drum parts. I never want the parts I play to sound "obvious" so I'll always try to find new angles and approaches to avoid musical cliche's. I just love feeling like I nailed a genre or a style while still sounding "uniquely me" if I can!
Q: What's your typical work process?
A: I try to sit with the songs I'm sent for a solid chunk of time before I even pick up a drumstick, getting a feel for arrangements, mood, feel, all of the important stuff. I'll then take the remainder of the day to experiment and "throw paint at the wall" until I find all of the parts I like and a comp that I'm happy with. Once I get there, I'll try to "beat the comp" with a single take performance, at which point I'll pass it off to you for revisions. After I know you're happy with the parts, I'll clean up the tracks with phase adjustments and any edits I deem to be necessarily as well as the first stage of tone shaping. I always want to make sure that when you put all the drum faders at 0 in your session, you're already at a fantastic starting point.
Q: Tell us about your studio setup.
A: I work in a relatively small space, but I've done a TON of work in tailoring my room to sound the way I want, both in building and placing various types of acoustic treatments to make the drums speak as clearly as possible. I've collected what I believe to be some of the best microphones for drums available over the years, all of which get powered up almost entirely by the creative geniuses at Black Lion Audio. Their fantastic preamps, power conditioners, and out-of-this-world interface modifications help to bring so much clarity to the sounds I capture.
Q: What other musicians or music production professionals inspire you?
A: I admire creative "out of the box" thinkers when it comes to those who inspire me. When it comes to drummers, that means guys like Gavin Harrison, Aaron Sterling, and Mark Guiliana; all of whom I admire for their versatility and creative approach to the instrument. I'm inspired by not only what they play, but also the amazing sounds all three of them are able to pull out of their kits. Same goes for engineers and producers. I've adopted my own philosophy on how to capture sounds thanks to all of the fantastic engineers I've had the pleasure of working with over the years, as well as internet personalities like Eric Valentine and Adam "Nolly" Getgood.
Q: Describe the most common type of work you do for your clients.
A: I primarily perform, record and edit myself playing drums and other percussion instruments for the clients that hire me. I am a stickler for feel when it comes to what I do, and how the song moves is always the utmost important thing.