+Tight Drums, Pristine Sound

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: Together with my studio colleague Michael Edwards, I was commissioned to write 13 short pieces of music for the "Konzerthausorchester Berlin". The task was to arrange and orchestrate everyday Berlin city sounds like traffic, birds, eating Currywurst ;) etc. for a symphony orchestra. To write the score and be responsible for so many musicians having to make weird and unusual sounds with their instruments was a big challenge but also an incredible experience.Aand the outcome is amazing! Check it out on YouTube!

Q: What was your career path? How long have you been doing this?

A: I've started to play the drums when I was 7. From Age 8-13 I also played the Cello. I was studying classical percussion (including marimba, vibraphone, etc.) at the university from age 14-19. I then did my bachelor degree in jazz drums in Berlin and finished university with a masters degree in Jazz drums and composition. My first professional live gigs I did with age 14 with local cover bands. At the time I also had my own heavy metal band, where I could start to be creative, while studying classical music and developing solid technical skills like reading sheet music, having good snare drum technique, sound aesthetics and so forth. I tried to keep an open mind for all different kinds of music. At all times, I would also compose, but merely as a hobby. When I later finished university and already playing full time with different artists, I wanted to focus on composition more again and started to write more dedicated work for film and TV productions.

Q: What's your typical work process?

A: I usually start with trying to get a very focused picture of what the client exactly wants from me. I think especially with drums, as so many options are available, people don't always have a finished idea/groove/or style in mind when they ask someone to get on board. So I usually try to help to fill this gap and offer solutions, based on my experience. As I have a lot of experience not only in recording drum parts, but also writing music for other people, I can often cross-reference what the intention of the composer/producer is/might be, and then try to match that intention as much as I can in the drumming performance.

Q: What do you like most about your job?

A: I really like the variety that comes with the different jobs I do, and that I sometimes have to wear "different hats" for different situations. Sometimes, in a band situation, I'm expected to be the drummer, play my part and that's it. Sometimes, when recording an orchestra or writing or conducting a recording session, I am expected to be the person with the best musical overview in the room and to give directions. I like both things a lot.

Q: Analog or digital and why?

A: Analog recording (sounds a lot better) and digital workflow (is a lot easier)!

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Mac Pro, Kick, Snare, Hat, Midi-Keyboard

Q: How would you describe your style?

A: Transparent, accurate, clean. Edgy and rough on demand ;)

Q: Which artist would you like to work with and why?

A: Alison Krauss & Union Station! Even though I am not professionally involved with country music at all, I can hardly think of a better example of such high level musicianship, accurateness and taste.

Q: What type of music do you usually work on?

A: For composition, most of my work is based around the Cinematic/Soundtrack/Orchestral area. For drums, I get hired mostly for acoustic, rock, jazz and experimental music.

Q: What's your strongest skill?

A: Even in modern production times, where one can edit everything down to perfectness in the post-recording process, I think that solid initial takes are still key to achieve great results. Those takes require accurate timing, good and consistent sound and a general fitting feeling for the piece, usually all coming with lot of experience and hard work. I spent my whole life focusing on those musicianship qualities and I'm still enjoying to grow!

Q: What other musicians or music production professionals inspire you?

A: Even though I'm not professionally involved with Country music at all, I think this genre has so many musicians with an extraordinary musicianship to offer. They can make the supposedly easiest parts sound incredibly interesting, focused, tasteful and fitting.

Q: Tell us about your studio setup.

A: I am working out of my music studio in Berlin, where I have an absolutely gorgeous 70s Vintage Pearl Drumset always set up, ready to record. Standard setup is Kick, Snare, 2 Toms, Hat, Ride-Cymbal, 2 Crash Cymbals. Depending on the job, this might vary of course. Sometimes, including small percussion instruments in the drum setup, like putting small bell cymbals on the snare, or playing a shaker instead of hats or ride, can create a very unique and distinctive drum sound. I also think that proper tuning and drum treatment is crucial for strong takes. Depending on the track and style of music, the tuning of the drums might differ drastically to match the tone for the overall vibe. It’s also about being mindful of what the overall production concept for the track is and where the producer wants the drums to be sitting in the mix. Here’s my standard miking setup. This, of course, can be adjusted depending on needs. 2x Overheads (A/B) 1x Snare 1x Kick 1x Tom A 1x Tom B

Q: What's your 'promise' to your clients?

A: I am working out of a nice sounding small drum room with great drums and cymbals, where I can achieve fantastic drum tracks for many styles. Anyhow, for some purposes, having a bigger room with many distant mics or having that DW modern drum kit with 7 toms is absolutely necessary to achieve a desired sound. So in case I’m getting a job offer, I think it’s only fair to only say yes to a commitment if I also think that I can fully deliver the desired sound and performance.

Q: Describe the most common type of work you do for your clients.

A: Coming up with solid drum parts that really fit the arrangement. And then record them.