FULL PRODUCTIONS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n

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Meet the team and get a glimpse of what happened behind the scenes at Studio Cobra.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n

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To take us back to the very beginning, how did you discover music and ultimately what fascinated you about the process of recording and producing so much that you made it into a career?<\/strong>
\n\t\t\tI had an older brother that brought \u201980s hard rock and \u201970s punk to our house when I was a kid. I was crap in school, felt different and started to get interested in odd music and watching horror movies. I discovered Roky Erickson in 1985 through a horror movie and then \u201c13th Floor Elevators\u201d and so on. In the \u201990s, I was into \u201960s garage rock and black metal. I think the punk scene with the DIY mentality was an eye-opener for me when it comes to recording. The death\/black metal scene back then had the same kind of DIY mentality as well. In the \u201990s, I bought a Fostex Portastudio on which I made black metal and weird rock music demos. The Fostex and other vintage synths and instruments I got my hands on were a perfect place to start and there my career sort of started without me knowing it.\n\t\t<\/p>\n

Your style of mixes and productions all have a sense of raw, gritty energy. What do you think shaped your preference and style?<\/strong>
\n\t\tWhen I was maybe nine years old, I was in my Grandparents\u2019 summer house and found the first album by The Who. I got it and I remember thinking it looked cool. I can still see myself the first time I put it on the record player. I thought the drums sounded so wild and raw and I had never heard anything like that. Looking back, that\u2019s probably where I got my preference for how drums should sound \u2013 the open and singing toms, the distortion and the lively and not perfectly tight drumming style. So good!<\/p>\n

You\u2019ve recorded anything from indie to extreme metal. Is there one genre or sound you generally prefer? Do you tackle a production differently depending on the genre?<\/strong>
\n\t\tA diversity of genres is good, then I don\u2019t get bored easily. I don\u2019t think I tackle genres differently production-wise, it\u2019s more about how the people in the bands are and how they want to work. I try to be responsive and research what they listen to and why. Of course, sometimes different genres demand their special microphones and techniques.<\/p>\n<\/p><\/div>\n

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For this EZX, you teamed up with David Sandstr\u00f6m of Refused. How did your paths cross before this project and why was he the perfect drummer for this EZX?<\/strong>
\n\t\tThe extreme and underground music scene in Sweden is tight-knit, so I of course knew of David before we collaborated on our first joint ventures a few years back, Refused\u2019s \u201cWar Music\u201d album and the band\u2019s music for the video game Cyberpunk 2077. After that, we got really close and now we are doing a really dirty depraved metal album together.<\/p>\n
Listening back to the final product, what are your thoughts and how do you see yourself using the sounds in your own work?<\/strong>
\n\t\tThe things you are able to do in this program are amazing. The more you learn about it, the more creative you get. I was skeptical at first because I have a studio, work with recording drums and love it, but after having sat down and really dug into it when doing the demo tracks and presets for this project, all my prejudices about software of this kind were blown to pieces. It sounds very good. It\u2019s just inspiring to have my personally engineered and mixed drum sounds from four different drum sets recorded in my own studio to work with. I\u2019ve actually already used it in some mix work I did. I got raw material from an American band, but their bass drum didn\u2019t sound like I wanted, so I replaced it. I\u2019m sure I\u2019m going to use it to produce demos and full productions going forward since it\u2019s so fast and sounds so good.<\/p>\n
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\n\t\t\tNifelheim \u201cSatanatas\u201d (2014)
\n\t\t\tViagra Boys “Consistency of Energy” (2016)
\n\t\t\tTribulation “Down Below” (2017)
\n\t\t\tViagra Boys “Call of the Wild” (2017)
\n\t\t\tObliteration \u201cCenotaph Obscure\u201d (2018)
\n\t\t\tRefused “War Music” (2019)<\/p>\n
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Obviously, to the general public you\u2019re known as the drummer of Refused, but you\u2019re also a singer and a guitar player, you\u2019re involved in several music projects, you\u2019re a published author and more. Walk us through all the different sides to David that may be new to some!<\/strong>
\n\t\t\tI was a musical kid and played all kinds of genres growing up, I sang in a choir and taught myself guitar when I was 10 and I started playing drums when I was four or five and went to municipal music school for drumming. As I started forming bands, it was natural for me to be the drummer, though I always wrote a lot of the guitar parts and lyrics as well. After Refused broke up, I made a bunch of solo records where I sang songs I’d written myself. Then I veered into more experimental stuff for some years and today, approaching 50, I basically do all of these things simultaneously. As I’m writing this, I’m on my way to Skopje to play at their jazz festival with this mostly improvisational orchestra of musicians from all over Europe. Oh, and a crime novel I wrote with my wife just came out in paperback in Sweden.\n\t\t<\/p>\n
This EZX features your own kit, which was custom-made for the Refused reunion and designed to somewhat mimic the sound and energy of the drums on your \u201cShape of Punk to Come\u201d record. Having played this kit for some 200-plus shows, what does it mean to you on a personal level and what did it mean for you to sample it?<\/strong>
\n\t\tThis whole project was a lot of fun and the fulfillment of a wish or fantasy I’ve had for a long time, that a leading drum software company would put the same kind of energy into capturing more dirty, atypical drum sounds as they do recording an old sets from the fifties. Capturing my own set is part of that and it was very satisfying. I use these types of products mostly for demos and I’m never able to get the right vibe in the drums because most sampled drums are polished to the bone and often without much character, so you have to work with EQ and filters to get them anywhere near where you want them, if you’re trying to get the right feel for a raw punk song or old school death metal or a post-punk track.<\/p>\n
The other three kits, what’s the story behind them and what was it like playing and sampling them?<\/strong>
\n\t\tMagnificent. I like some of these kits more than my own. There are so many people making the type of music that me and Konie make and we honestly almost never talk drum software because there hasn’t been products for us, and going forward I think we’ll go back to these sounds over and over again. The really weird old kit sounds so damn cool, it’s as if it was made for a mid-eighties Tom Waits record. And then the Hellacopters and Viagra Boys kits do precisely what you’d expect of them: they boom and creak and smatter like rock \u2019n\u2019 roll was supposed to.<\/p>\n<\/p><\/div>\n
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Just like Konie, you have a fascination for music and sounds that are raw, gritty and not too pristine. What is it about \u201cimperfection\u201d that excites you musically?<\/strong>
\n\t\tMetal and punk\/hardcore was my first love as a musician, and never the clean, technical type stuff. I was more drawn to the unhinged violence of Repulsion, Discharge and Neil Young & Crazy Horse than, say, In Flames, Green Day or Coldplay. It’s not that these sounds are mistakes, they’re just made to create a certain atmosphere and there’s intention there. You want the drums to bring something with them besides a tempo and a rhythm, something primal and authentic. Perfection is a false god, the hunt for a sound without hiss or background noises is like the hunt for a perfect life. There’s no such thing, even the idea of it bores one to death. But the weird, unexpected combinations of sounds is, to me, the real life of music. The creak of the chair the guitar player is sitting on, the bass player\u2019s cough leaking through the percussion mike. Just listen to \u201cExile on Main Street\u201d or Charles Mingus’ recordings for Candid, early AC\/DC or my personal favorite punk band Blitz, the unadulterated passion just exploding in the studio. That’s what I love about music, those moments captured, not clinically devoid of the noise of life, but brimming with it, sparkling with it, overflowing.<\/p>\n
Listening back to the final product, what are your thoughts and how do you see yourself using the sounds in your own work?<\/strong>
\n\t\tI think Konie and you guys succeeded in capturing something really unique and I’m proud to have been a part of it. It is so cool that Toontrack wanted to make this and the result is everything we wanted it to be. I might actually start using these for records now and not just demos.<\/p>\n
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\n\t\t\tRefused “This Just Might Be… the Truth” (1994)
\n\t\t\tRefused “Songs to Fan the Flames of Discontent” (1996)
\n\t\t\tRefused “The Shape of Punk to Come” (1998)
\n\t\t\tDavid Sandstr\u00f6m “Om det inte h\u00e4nder n\u00e5t innan
imorgon s\u00e5 kommer jag…” (2000)
\n\t\t\tText \u201cs\/t\u201c (2001)
\n\t\t\tDavid Sandstr\u00f6m Overdrive “Go Down!” (2005)
\n\t\t\tDavid Sandstr\u00f6m Overdrive “Pigs Lose” (2008)
\n\t\t\tRefused “Freedom” (2015)
\n\t\t\tRefused “War Music” (2019)
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Behind a modest steel door in the heart of Stockholm, Sweden, hides the gem that is Studio Cobra. Having hosted a wealth of anything from underground bands to some of Sweden\u2019s biggest artists, it\u2019s been a creative node that offers a different flavor compared to the mainstream-type studio. Run by Konie and Christian Gabel, Studio Cobra is propelled by their joint fascination for analog gear, tape machines and instruments. If someone\u2019s looking to make a raw, gritty and old-school-sounding recording that still feels absolutely modern, this is where to go.<\/p>\n
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\n\t\t\tThis vintage gem of a kit from 1968 is the resident Studio Cobra kit. Absolutely menacing in terms of attitude and tone, perfect for anything from gritty, old-school metal to hard-hitting punk.\n\t\t<\/p>\n<\/p><\/div>\n<\/div>\n
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COBRA KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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\n\t\t\t*All other manufacturers\u2019 product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here<\/a>.<\/p>\n\t\t<\/div>\n<\/p><\/div>\n<\/div>\n
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\n\t\t\tThis loud and ringy kit is the perfect choice for any gritty-sounding garage-style rock track.\n\t\t<\/p>\n<\/p><\/div>\n<\/div>\n
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PANTHER KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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\n\t\t\t*All other manufacturers\u2019 product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here<\/a>.<\/p>\n\t\t<\/div>\n<\/p><\/div>\n<\/div>\n
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\n\t\t\tDavid\u2019s personal kit, built specifically to capture the Refused sound and used on 200+ live shows over the past ten years. If you\u2019re looking for a hardcore kit that hits hard, this is it.\n\t\t<\/p>\n<\/p><\/div>\n<\/div>\n
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PRIMAL KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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\n\t\t\tThis 1940s-ish kit is tight, muddy and earthy at the same time as it\u2019s full of life and energy. If you\u2019re working on any track that calls for worn, gnarly and utterly \u201cdead\u201d drum tones \u2013 here they are. We mean, listen to those toms!\n\t\t<\/p>\n<\/p><\/div>\n<\/div>\n
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RELIC KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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In addition to the presets created by the Toontrack sound design team, a collection of presets engineered by Konie is provided for each kit. With every preset featuring its unique set of channels and macro controls, you\u2019ll be able to fine-tune individual instrument levels, adjust the effects used behind the scenes, the overall saturation amount and more to make sure the final sound perfectly locks in with the song you\u2019re working on.<\/p>\n<\/p><\/div>\n<\/div>\n
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The included MIDI library was performed by David Sandstr\u00f6m and largely inspired by some of the pivotal milestones in his recording career. Expect a basic collection of drum grooves and fills featuring his signature unrelenting, energetic and hard-hitting style of drumming.<\/p>\n<\/p><\/div>\n<\/div>\n
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More for your songs.<\/span><\/strong><\/h3>\n
If you liked this, you might want to check out these as well:\n <\/div>\n <\/div>\n
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COBRA KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n\t

PANTHER KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n\t

RELIC KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n\t