THE MAKING OF.<\/strong><\/h2>\n
Meet the team and get a glimpse of what happened behind the scenes during the session!<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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ABOUT THE STUDIO.<\/strong><\/h3>\n
\n\t\tIn a 17th-century brick building on an old factory compound nestled in the trendy Vasastan area of central Gothenburg, you\u2019ll find Svenska Grammofonstudion. The name is Swedish and directly translates to \u201cThe Swedish Gramophone Studio.\u201d Since it was launched in the beginning of the 2000s and to this day, an endless stream of Nordic as well as international acts have recorded seminal works here.<\/p>\n
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MEET THE ENGINEER.<\/h6>\n
CHRISTOFFER BERG.<\/strong><\/h2>\n
With credits on albums by Swedish 21st century icons like H\u00e5kan Hellstr\u00f6m and Robyn as well as major label collaborations with international icons like Depeche Mode, Christoffer Berg is undoubtedly one of Sweden\u2019s most noted producers, mixers and engineers.<\/p>\n<\/p><\/div>\n
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You\u2019re originally a drummer who got absorbed by recording, engineering, mixing and producing. How come you ended up on the opposite side of the studio glass and, to you, why is working with sound so amazing?<\/strong>
\n\t\tI grew up with both my parents involved in making records, and the studio was my favorite place to tag along to as a kid. Tape machines and instruments were just \u201daround\u201d our house and I just loved to play with it all. When bands I played in started recording, I was the one who knew how to make it work, so I just did it. And when DAWs became more and more advanced, I started making my own songs.<\/p>\n
You\u2019ve been obsessing over the specific drums you sampled for this EZX for a long time. Tell us the story of how you got started collecting these kits and why!<\/strong>
\nI got Christopher Cantillo in for a session on the H\u00e5kan Hellstr\u00f6m record and when I saw the badges on the drums say \u201dLevin, G\u00f6teborg\u201d I was just floored that I\u2019d grown up here as a drummer not even knowing we had drums made in the city. And when we started setting up a sound something clicked \u2013 this was the foundation of a sound that I\u2019d been searching for. I\u2019ve always tried to get the sound of classic old funk, soul and jazz records that I love, but there was something missing. And as these drums are metric, not imperial, anyone who has tried to change heads to plastic ones have had to put the original heads back on \u2018cause they just don\u2019t fit. So these kits are a bit like backwards time machines. They are almost 100% original, even the calfskin heads.<\/p>\n
Like you mentioned, one standout feature on the kits is that they feature their original calfskin heads, first mounted way back in the 1900s when the drums were new. To you, what do these types of heads add to the sound overall?<\/strong>
\nPlastic heads are reliable, predictable and, after all, are called things like \u201dWeather King\u201d for a reason. If you exhale on the calfskin head of a tom, that moisture will drop the pitch by a semitone. So if there is a rain storm, the kit becomes completely dead and you have to tune it up a lot. If it\u2019s sunny and warm, it will rise a lot in pitch. So you have to constantly tune, retune and drop the tuning after a session in case the weather becomes warmer before you use it again. This creates a constant bonding with the instrument to keep it in a sweet spot. And, the thickness and tension of the skins vary across the surface, so you get a sound that is more complex and vivid. As a sound engineer, I\u2019d say you can relate plastic vs. calfskin as digital distortion vs. non-linear analog distortion.<\/p>\n<\/p><\/div>\n
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Why was Svenska Grammofonstudion the perfect choice for studio?<\/strong>
\nI have had a production room in the Annex of the studio for about 15 years, so I have recorded drums many times there. It\u2019s one of the most versatile rooms to record in, because the drum corner is dampened, your first bounces are onto wood panels on the walls, then further up you have stone as well as a wood beam ceiling. So you can get a very dry direct sound and a very nice-sounding room. And the \u201cQueen\u201d Neve in Studio A is probably the most well-maintained Neve I have ever worked on. It just sounds fantastic and works like new, which \u2013 if you ever actually worked on these old consoled you know \u2013 is rare, if not unheard of.\n<\/p>\n
Having really dug into the sounds when creating presets for the product, what are your thoughts?<\/strong>
\nI\u2019m pretty mindblown to be honest. This mic technique is something I\u2019ve been thinking about and developing over about a decade, and it\u2019s so cool how diverse it can be \u2013 all the way from authentic mono ribbon and tube images, expanding those to mid\/side, blending ribbon and tube, adding close mics\u2026 You can really take the sound to any genre or any decade of recorded music and get an authentic, great and interesting starting point for a beat or a song. It\u2019s been super inspiring to make the presets.<\/p>\n
SELECTED DISCOGRAPHY<\/strong><\/h5>\n
The Knife \u201cDeep Cuts\u201d and \u201cSilent Shout\u201d<\/strong> (mix engineer)
\n\t\t\tFever Ray \u201cFever Ray\u201d<\/strong> (producer and mix engineer)
\nRobyn \u201cWho\u2019s That Girl\u201d<\/strong> (mix engineer)
\nDepeche Mode \u201cDelta Machine\u201d<\/strong> (programmer)
\nH\u00e5kan Hellstr\u00f6m \u201cPoetiska f\u00f6rs\u00f6k\u201d<\/strong> (producer)\n\t<\/p>\n
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MEET THE DRUMMER.<\/h6>\n
CHRISTOPHER CANTILLO.<\/strong><\/h2>\n
In addition to being an in-demand session player who\u2019s lent his infectious groove to countless Swedish and international albums, Christopher Cantillo is also stirring up buzz with his own act Dina \u00d6gon.<\/p>\n<\/p><\/div>\n
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Where does your interest in music stem from and how come you ended up behind a drum kit?\u00a0<\/strong>
\nI started playing pots and pans at the age of two and then got my first kit when I was five years old. So you could say that music in general \u2013 and drums in particular \u2013 were my first love.\n<\/p>\n
Which drummers do you think helped shape your style?<\/strong>
\nMany, so many. If I had to single out a few, they\u2019d be Elvin Jones, Tony Williams, Clyde Stubblefield, Questlove, James Gadson, Levon Helm and Hal Blaine.<\/p>\n
You\u2019re a seasoned session drummer with tons of albums on your discography, countless tours and what not! If you had to pick some highlights, which ones would you single out?<\/strong>
\nHmm\u2026 I opened for Patrick Watson in Quebec and there were about 15,000 in the audience screaming their lungs out. My ears were sore from just hearing the audience, haha. Roskilde last year with Dina \u00d6gon was epic. Working with dub legend Scientist was mindboggling for sure. And I was also very honored to be a part of Mayer Hawthorne\u2019s last album. Playing with jazz great Palle Danielsson was also very cool.\n<\/p>\n<\/p><\/div>\n
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Some of the drums and kits you sampled are from your own personal collection. Tell us more about these specific drums, what they mean to you and what they\u2019ve been through over the years!<\/strong>
\n\tI\u2019ve been collecting for a few years and I thought it would be fun to have at least two kits from Levin, assembled in my hometown of Gothenburg, Sweden. One of the bass drums used to belong to my friend and colleague Bror Gunnar Jansson. I used it on tour with him and fell for it instantly. He was kind enough to let me buy it. Both kits have actually been recorded with Swedish mega star H\u00e5kan Hellstr\u00f6m!\n<\/p>\n
Hearing the final result and seeing the final product, what are your thoughts?<\/strong>
\nTimeless, classic, modern, versatile, varied, on point. Love it!<\/p>\n<\/p><\/div>\n<\/div>\n
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THE DRUMS.<\/strong><\/h3>\n
The kits in this EZX are all extremely rare gems from the mid-1900s era. Primarily equipped with calf- and cowskin heads for extra period-correct and earthy tones, expect a collection of unique-sounding kits with a palpable vintage flair but an overall modern approach to how they were recorded.<\/p>\n<\/p><\/div>\n<\/div>\n
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BANDSTAND KIT.<\/strong><\/h4>\n
BANDSTAND KIT.<\/strong><\/h2>\n
\n\t\t\t\t\tBrand:<\/strong> Levin<\/a>
\n\t\t\t\t\tDrum heads:<\/strong> Calfskin (kick), cowskin (toms)
\n\t\t\t\t\tFinish:<\/strong> Black Square Pearl
\n\t\t\t\t\tEra:<\/strong> 1940s\/1950s\n\t\t\t\t<\/p>\n
Recorded configurations: Regular and wires off<\/p>\n<\/p><\/div>\n
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The first owner of this kit was drummer Sture Tholander who toured Sweden in the\u201940s\/\u201950s with famous jazz trumpeter Bengt-Arne Wallin, among others. With this kit, we wanted to pay homage to the marching band history and how it plays in with how different percussion instruments came together to form the drum kit as we know it today. The toms are reskinned with thicker heads to give the overall sound a more unique and woody attack. The bass drum, though, has the original calfskin heads and sheep\u2019s fur beater. This is nothing short of a piece of drum kit history.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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\nAll 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><\/p>\n
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BANDSTAND KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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BANDSTAND KIT – WIRES OFF<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n
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\n\t\t\tAll 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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MOTOR TOWN.<\/strong><\/h4>\n
MOTOR TOWN.<\/strong><\/h2>\n
\n\t\t\t\t\tBrand:<\/strong> Levin<\/a>
\n\t\t\t\t\tDrum heads:<\/strong> Calfskin (kick and rack tom), coated (floor tom)
\n\t\t\t\t\tFinish:<\/strong> White Marine Pearl
\n\t\t\t\t\tEra:<\/strong> 1940s\/1950s\n\t\t\t\t<\/p>\n
Recorded configurations: Regular, wires off and toweled<\/p>\n<\/p><\/div>\n
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This kit is named this in tribute to Gothenburg, a blue collar city widely known around the world for its automaking heritage. Aside from its rich history in manufacturing and innovation, it is also the very birthplace of the Levin<\/a> brand of drums as well as a stronghold for culture on the whole. With a bass drum that has a more modern tuning and a shorter decay, toms that have thinner calfskins and its amazing set of vintage cymbals, this is the perfect kit for anything from laid-back and earthy singer-songwriter, soul, funk, R&B, hip-hop and pop to any other imaginable style where you\u2019d want a thick and juicy pocket.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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\nAll 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><\/p>\n
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MOTOR TOWN KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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MOTOR TOWN KIT – TOWELED<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n
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\n\t\t\tAll 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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TRANSATLANTIC KIT.<\/strong><\/h4>\n
TRANSATLANTIC KIT.<\/strong><\/h2>\n
\n\t\t\t\t\tBrand:<\/strong> Levin<\/a>
\n\t\t\t\t\tDrum heads:<\/strong> Calfskin (kick and toms)
\n\t\t\t\t\tFinish:<\/strong> White Marine Pearl
\n\t\t\t\t\tEra:<\/strong> 1940s\/1950s\n\t\t\t\t<\/p>\n
Recorded configurations: Regular<\/p>\n<\/p><\/div>\n
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The burgeoning US rock \u2019n\u2019 roll and jazz scenes of the early 1950s called for a different type of drum kit, one with a much smaller bass drum and less deep snare. This kit is a period-correct take on exactly that influence and an archetypical example of a 1950s jazz and club kit. To add, this kit features arguably the snare choice of some of the most legendary jazz drummers, which later also spilled over to the UK and the entire pop revolution. As an homage to the latter era, it was tuned in a more of a 1960s pitch.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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\nAll 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><\/p>\n
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See full instrument list & details<\/strong><\/p>\n
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TRANSATLANTIC KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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\n\t\t\tAll 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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ADDITIONAL INSTRUMENTS.<\/strong><\/h3>\n<\/p><\/div>\n<\/div>\n
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THE ROOM & THE MICS.<\/strong><\/h3>\n
Here\u2019s an overview of the mics used and roughly how they were placed around the kits and in the studio room.<\/p>\n<\/p><\/div>\n<\/div>\n
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Amb:<\/strong> Neumann USM69<\/span><\/li>\n
Mid\/Side Tube:<\/strong> Neumann U67<\/span><\/li>\n
Mid\/Side Ribbon:<\/strong> Royer R121<\/span><\/li>\n
OH Stereo:<\/strong> AKG C24<\/span><\/li>\n
OH Mono Ribbon:<\/strong> Beyerdynamic M260<\/span><\/li>\n
OH Mono Tube:<\/strong> Sela T24<\/span><\/li>\n<\/ol>\n
\t\tAll 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<\/p><\/div>\n<\/div>\n
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THE MIXER & THE PRESETS.<\/strong><\/h3>\n
This library was recorded using he obligatory close mics as well as two different mid\/side configurations \u2013 one featuring all-ribbon mics and one where only tube mics were used. Listen to examples above!<\/p>\n<\/p><\/div>\n<\/div>\n
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THE MIDI.<\/strong><\/h3>\n
The included MIDI was performed by sampling drummer Christopher Cantillo and designed to provide a palette of grooves and fills tailored specifically for the included kits. The content in each \u201csong\u201d was inspired by anything from laid-back and mellow singer-songwriter material to more beat-centric and contemporary types of beats. This MIDI will give you great starting points when previewing the kits as well as sourcing inspiration for where to take your next song.<\/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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THE MAKING OF.<\/strong><\/h2>\nMeet the team and get a glimpse of what happened behind the scenes during the session!<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n <\/div> <\/div><\/p>\n<\/section>\n

MEET THE ENGINEER.<\/h6>\n

MEET THE DRUMMER.<\/h6>\n

BANDSTAND KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n\t

MOTOR TOWN KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n\t