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Making the Mix with Matty Amendola – Part 1 of 5: Drums

What’s up everyone? I’m Matty Amendola, and today we’re at the studio at 825 records in Brooklyn, New York, to talk about Kerchief’s single Milk and Honey, for the exclusive, behind the release, from


From the demo process, I knew how the guitars and the vocals sounded, so the first thing to do was lay some drums down.

This was the basis of the drum kit. Two room mics spread out in the room, and two Coles 4038s in a Glyn Johns tight position. That’s what this sounded like.


So the Coles were really giving us that nice, vintage, warm, small kind of drum sound, and then I used the room mics, which are two Earthworks SR40s on each side of the room to give it depth.

I can see on the waveform right here that we squashed these with Distressors going in, and it looks like on the buss, we have a CLA-76, also squashing the hell out of it, we have a little bit of EQ, which looks kind of whacky but seemed to work, and then on our buss we have a little bit of reverb.

So this is what those room mics sounded like by themselves.


So let’s add those Coles in there now.

[rooms and overheads]

On the kick in the verses, I’m triggering a sample that I created several years ago and a bunch of albums ago from Fleet Walker’s Morning Void record.

I used this big kick sound on a song called In a Dungeon at the Bottom of the Sea.



And it’s big, and it’s explosive, and there’s a lot of samples out there like it that you can grab.

So one very cool thing I did with the snares, which are grouped, and we’re going to get to that right now, I have my top snare, just a little bit of EQ, once again, I’m sending it out to Slate Trigger, just for some white noise. Just some white noise and bit rips and just noise on the snare. That’s what I’m triggering just slightly.

A little bit of FabFilter compression just smacking pretty hard.


So that was the snare going in through the SSL chain, and from there, I just wanted to give it some depth, so we created a gated verb.

[gated verb]

Now that mixed in…


So the gated verb kind of gave it this dimension, and it’s almost like a really fast, backwards snare underneath the real snare hit.

All of the drums are being summed out to a UAD Studer, which is one of my favorite tape emulation plug-ins. Here is what’s going on there. Just driving the input a little bit, crunching it down, and we are at 7.5 IPS, which is giving us that crunch, and it’s also taming those transients to give it that vintage, wide, warm feel.

From there on the drum buss, I’m using one of my favorite in the box compressors, which is the Kramer PIE. The whole kit was really something special, and that’s what this sounded like.


We had enough hi-hat coming in on the overheads and on the rest of the drum mics, but I recorded this hi-hat track and I used it in an interesting way.

We’re going to open up Flex Time, where I have slicing mode on. Now as you can see, we’re not actually doing anything with this slice. Now, why am I doing this?


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