Mentioned by Lynch in this May 2008 *Modern Drummer Magazine* interview. > "This is one of my vintage Tama kits, circa the late 1970s," Stan Lynch says. "It was used on almost every Tom Petty & The Heartbreakers session I did, as well as on recordings by Bob Dylan, Jackson Browne, Don Henley, John Mellencamp, Aretha Franklin, The Eurythmics, Brian Wilson, Roger McGuinn, Stevie Nicks, Del Shannon, T-Bone Burnett, The Byrds, Belinda Carlisle, Freedy Johnston, and many others. > > "It features a 14x24 kick, 8x12 and 9x13 rack toms, and a 16x16 floor tom. As for the snare drums, at that time I used a 6½x14 Ludwig Black Beauty, 5x14 and 6½x14 Ludwig Supraphonics, and a 5x14 Ludwig Acrolite. Not shown, but included with this kit, were 6x6, 8x8, and 10x14 tom-toms. > > "Besides the drums, I have always used Zildjian cymbals, Pro-Mark drumsticks, Remo heads, and DW pedals."more
Mentioned this November 2018 *Drumhead Magazine* article. > *Drumhead* had a chat with the band’s drummer, François Comtois, about a month before *Mirror Master* was released. (...) I endorse Zildjian, Vic Firth, Sunhouse and C&C—I love to play with the pallets that they’re able to create. For a really long time I was playing a maple/poplar/maple kit from C&C, and that’s the one I have at the rehearsal space right now. It’s really warm and beautiful, and it records well. On the last album I wanted something that smacked a little harder, so I ordered their acrylic Coke bottle green kit. I had been pining for that one for a long time. It looks so good under lights and there’s something so visually appealing about it, but more importantly it sounds incredible. That one is a 22” kick, whereas usually I play 20”. So being able to feel it through the sub, it’s a whole different animal. Cymbal-wise, I really love the K series that Zildjian makes. The K Sweet Ride is something I’d like to acquire. I tend to prefer darker cymbals, I think they’re set back and a bit more out of the way in the mix, which pairs with my philosophy for recording drums. Snares, I have a couple Black Beauties. I have a George Way, Dunnett chrome snare that’s based on a 1970s Black Beauty. The new Black Beauties are fine, and they do one thing really well, but if you play an old Black Beauty, you’re like ‘why don’t they sound like this anymore?’ This guy, Ross Garfield, who’s “The Drum Doctor” –He’ll supply us with a lot of extra pieces and comes and techs the drums. For the song we just put out, “Superposition,” we wanted that Clyde Stubblefield “funky drummer” sound, and Ross came with this sixty’s Gretsch, and he tunes it, and goes “Does that sound about right?” We barely had to do anything and I knew it was exactly “it.” But he turned me on to the George Way stuff, and said “If you really like the Black Beauty, and you want it sound like one but you feel terrible about bringing it on the road, try this one out.” And I’ve been super happy with it. I’m not a crazy gearhead, I don’t have a room of drums, though I wish I did."more
The wear-and-tear factor is also a plus. “He does not necessarily go through a lot of gear, whereas Travis [Barker] is always trying different snares and different cymbals and breaks a lot of heads, a lot of sticks. It’s not that Eric doesn’t hit hard, but Travis is the most destructive guy I have ever worked for.”more
"I've had it three years and a bit. Gretsch 22in bass drum, because I was always changing from my previous 20in in the studio, it had an awful ring to the nutboxes which you had to pad out. Ludwig Black Beauty snare, 6½in, made of brass — what a sound! You don't even have to know how to tune up a snare drum to get a good sound out of that. I've also got a Ludwig Acrylite snare, very-light, 5½in, hopeless for recording, terrible for live work, but I love the crack, and they feel good."more
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