I'm a session drummer, producer and sound-designer based in Berlin. I have specialized in elegant grooves, creative sound design, vintage drum tones and the organic implementation of electronics. I'm known for my genre-bending approach; expressive, dynamic and highly musical. I'm very excited to work on your next project!
I am offering drum recording sessions out of my private tracking & writing studio, THE TRACKING FARM, from where I'm able to track creative and industry-standard drum tracks in a great natural sounding and acoustically treated room - located inside a 19th century farm house.
I'm very passionate about music, recording and sound-design and and I am very fortunate to be working with a wide range of internationally acclaimed artists, producers & brands such as Alice Phoebe Lou, Kyson, Merryn Jeann, Hush Moss, Ex Olympic, Martin & James, RAS, OSOO, YAH3, Olmo, Frank Dillane, Matteo, Indian Wells, Picsters, Mercedes Benz Fashion Week, Drive Now, Red Bull Music, Carla Otto, Viu Eyewear, ARD Television, Goethe Institute and many more.
At my studio, I'm constantly housing up to six different drum kits (Gretsch 60's Round Badge, Gretsch 70's Stop Sign Badge, 70's Slingerland, Tama Star Walnut, Pearl 70's Wood Fiberglass, etc.), a minimum of ten snare drums and a large assortment of Cymbals and Percussion, to sonically tailor each song to your personal preference - all recorded trough industry-standard microphones and CAPI and Neve-style preamps. If needed, I am using Sunhouse Sensory Percussion or other drum programming techniques to create electronic or hybrid drum tracks. Happy to jump on a call to discuss details.
Tell me about your project and how I can help, through the 'Contact' button above.
- Alice Phoebe Lou
- Merryn Jeann
- Hush Moss
- The Ozu
- Indian Wells
- Frank Dillane
- Matteo Pavesi
- Geordie Little
- Mercedes Benz New York Fashion Week
- Carla Otto
- Fischer Appelt
- Viu Eyewear
- Drive Now
- Jian Liew
- Echo Chamber
- Aut Records
- Bob Meanza
- Cleaning Each Other
- KULT NRW
- Friends of Friends Records
- B3Science Records
- Universal Music Group
- Motor Music
- Average Negative
- Schering Foundation
- Goethe Institut
- Doron Segal
- Red Bull Music
3 ReviewsEndorse Chris Hill
Working with Chris has been amazing! Drum tone, performance and mic selection was spot on to the feel of what the track needed.
Communication, process, file delivery and overall vibe has been a total breeze - chatting and communicating as if we've been friends for years.
I'm already looking forward to recording the next piece of music together!
Chris is an exceptionally professional and creative drummer. Not only does he play drums brilliantly, but pays very good attention to detail, and picked up and replicated minutiae in my drum programming that not even I took note of. His keen ear also extends to his proficiency in the recording arts - his mic placement and selection is as much a part of his service as his drumming is, and delivered a pristine 14 channel drum mix on completion of the job -complete with creative mixing suggestions.
Chris is a killer drummer and a pleasure to work with. Real creative approach to drumming. Very interesting ideas, punchy grooves and the recordings are top notch. Bravoo!
Interview with Chris Hill
Q: What do you like most about your job?
A: Collaboration and the people I am meeting along the way...
Q: Which artist would you like to work with and why?
A: Radiohead's producer Nigel Godrich for sure, because he has carved out a hybrid sound that I am searching for myself.
Q: What type of music do you usually work on?
A: It mostly oscillates between Indie Pop, Electronic Music, Singer Songwriter, HipHop & Funk/Soul and sometimes even Free Jazz. I love music.
Q: What other musicians or music production professionals inspire you?
A: Regarding studio work, I'm very inspired by musicians who are approaching the role of the drummer more from a producer's and sounddesigner's standpoint, namely guys like Aaron Sterling, Joey Waronker, Matt Chamberlain and so on. Steve Jordan and Steve Gadd for their god-like grooves and feels. And in regards to implementing electronics, I love what Ian Chang (Son Lux) & Mason Self are doing with Sunhouse Sensory Percussion. And I love Nigel Godrich for obvious reasons :)
Q: Analog or digital and why?
A: Both, I try to combine best of both worlds.
Q: What's your 'promise' to your clients?
A: You're gonna be 100% satisfied.
Q: What questions do you ask prospective clients?
A: When do you need the track? Do you have reference tracks in mind?
Q: How would you describe your style?
A: Expressive, dynamic, highly musical
Q: What's your strongest skill?
A: Listening, Listening, Listening.
Q: What do you bring to a song?
A: great tones, great feel, great groove & big ears
Q: Tell us about your studio setup.
A: It's relatively simple and focused on drum tracking. I own a lot of classic drums (mainly warm & tubby old Gretsch and Ludwigs, but also quirky vintage MIJ drums and a modern hi-fi Tama Star Walnut) cymbals and all the percussion goodies, because the source for me is THE most important part of the recording chain. To capture these beautiful instruments I have invested in a professional recording chain consisting of great mics (including Coles 4038, Aston Spirit, Oktava MK 012 etc.), Neve Style GAP Pre-73 preamps and an RME Fireface for A/D conversion. My output usually consists of a roughly premixed stereo drum track as I hear it (for mixing reference) and 12-16 individual drum stems for the mixing engineer / producer. If electronics are needed, I'm either using Sunhouse Sensory Percussion to add a bit of human flavour or I am programming in Ableton Live or NI Battery. And for sound design I have a bunch of guitar pedals, a Tascam 424 Tape Machine, an OP-1 mini synth and a classic SP404 sampler. And on top of that I'm constantly searching for new sounds how I can integrate them into my rig.
Q: Describe the most common type of work you do for your clients.
A: There are various types of sessions that I get asked to do: either my client comes in with a fully fleshed out idea of what they want and already have it programmed in a demo version and the job is to replace it with high quality and highly personalized sounds. Sometimes it's just about adding in certain percussive or sonic details to an existing rhythm track. Often the track has no rhythm track at all and we're developing in tandem and creating a hybrid between live drums, programming and percussion.