Toto – Toto IV

Album 1982

The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 1982 album Toto IV.

Music from Toto IV

Artists on Toto IV

Keith Carlock

Roles:

Drummer

Groups:

Steely Dan Toto Toxic Monkey
David Hungate

Roles:

Bassist

Groups:

Toto Rake and the Surftones
Greg Ladanyi

Roles:

Music Producer Audio Engineer

Mixing Engineer Recording Engineer
Roger Linn

Roles:

Music Producer

Programmer
Al Schmitt

Roles:

Singer Music Producer Audio Engineer

Recording Engineer
Tom Knox

Roles:

Music Producer Audio Engineer

Recording Engineer
John Kurlander

Roles:

Audio Engineer

Recording Engineer

Gear Used On Toto IV

Explore the instruments, equipment, software, and production tools used in the making of Toto – Toto IV (1982). Click more on each item to see exactly how it was used.

Keith Carlock

Roles:

Drummer

Microphones used by Keith Carlock on Toto IV

Dynamic Microphones

Shure SM57

Avg price: $112.49

Used for the snare drum on Donald Fagen's Morph the Cat, as stated by mix engineer Elliott Scheiner in this August 2006 Sound on Sound interview.

According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions.

Kick drum: AKG D112.

Snare: SM57 (only on top).

Hi-hat: Neumann KM81 or 84.

Toms: Audio-Technica ATM25.

Overheads: Neumann U67.

Room mics: Electrovoice RE20.

Electric guitar: Shure SM57 right on speaker cone.

Piano: 2x AKG C12 mics, about 12 inches from the strings.

Trumpet and trombone: Coles ribbon.

Tenor sax: Neumann U67.

Baritone sax: Neumann FET47.

It was also used for the snare drum on Toto XIV, as mentioned by producer CJ Vanston in this March 5, 2015 Mix Online article.

On the kick drum he placed a Sennheiser 421 and a Yamaha subwoofer, and on the snare drum a Shure 57 with another Shure 57 underneath. On the hi-hat he switched between a Neumann KM 84 and Shure SM81.

“For overheads I used a pair of AKG C12As,” Petocz says. “Tom mic’s were 421s and for room mics I had a 47 mono room mic very close to the drums, halfway between the kick and the snare. Then for the more traditional room mic drum sound, I used a pair of U 67 Neumanns and occasionally a C-24 from the back, just sparingly. They all went through the beautiful vintage 8068 Neve console, the best sounding Neve in town. And some compression on the snare when it needed it, but only slightly. Then what I did is go direct out when I could instead of busing it, just for that added purity.”