Nathan Followill

On the DW artist page for Nathan Followill, it lists his drumset as Collector's Birch Drums in Custom Pink & Blue Lacquer, in the following drum sizes: 22x18 bass drum, 13x10 rack tom, 16x14 floor tom, 18x18 floor tom.

In this photo originally sourced from Drummerworld Forums, Kings of Leon drummer Nathan Followill's kit includes the Brady 14 x 6.5 Jarrah Block snare.

Nathan Followill from Kings of Leon plays with Vater 5A wood tip drumsticks (with grip tape), as can be seen in this photo he posted to Twitter.

Used as a room mic for some of Only by the Night, particularly on "Sex on Fire", as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on.

"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer.

"The toms were recorded with three Josephson E22S mics, which are a modern type, and they're fantastic on the toms. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track. The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape. The ride cymbal and the hi-hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal.

"I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."

Zildjian's artist page lists Nathan Followill as using Zildjian 15" A New Beat HiHats in his setup.

Nathan's drum tech replies on Instagram that Nathan uses a 23'' Zildjian sweet ride

On the DW artist page for Nathan Followill, the 14x5 aluminum snare drum is listed as part of his setup.

The Zildjian artist page lists Nathan Followill as using the Zildjian 8" A Custom Splash in his cymbal setup.

Kings of Leon drummer Nathan Followill uses Vater grip tape, as seen in this photo he posted on Twitter.

Nathan Followill of Kings of Leon is seen playing a DW black satin oil drum set in the YouTube video by Hardwell titled "Hardwell Q&A - The New Hardwell Studio Part 1."

In 2014, I observed Nathan Followill using the Zildjian 20" FX Oriental Crash of Doom during a performance in New Orleans.

look at the last picture on this article and it clearly shows nate playing in 2017 with this clear DW set.

Used on the bass drum for some of Only by the Night, particularly on "Sex on Fire", as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on.

"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer.

"The toms were recorded with three Josephson E22S mics, which are a modern type, and they're fantastic on the toms. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track. The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape. The ride cymbal and the hi-hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal.

"I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."

Used on the ride cymbal and hi-hats on Only by the Night, as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on.

"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer.

"The toms were recorded with three Josephson E22S mics, which are a modern type, and they're fantastic on the toms. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track. The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape. The ride cymbal and the hi-hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal.

"I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."

Both a 77-B and a 77-DX are on the ribbon micrcophone list for Blackbird Studios, where Only by the Night was recorded. Yet, according to part 1 of the Letterman FAQ page, Letterman's microphone was a 77-DX.

Yes, the microphone (an old RCA DX 77) does work, but is usually reserved for special occasions, such as when Dave is "playing along with the band" by hitting it with a pencil. The crew at NBC gave him the mic when he left. Dave's primary mic is the wireless "tie-clip" variety. There was a report that Dave's mike was stolen off his desk during the renovation of the Ed Sullivan Theater in the spring of 1996, but I can tell no difference in the replacement.

Used to submix the bass drum and snare on Only by the Night, as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on.

"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer.

Despite mention of a "580", a 8200 is clearly visible in the bottom right corner of this picture of Studio D's outboard rack from the same interview.

Used to submix the snare drum on Only by the Night, as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer."

Standard EL8s are visible in this photo of Blackbird Studios' Studio D's outboard gear rack and this photo of most of the gear used on "Sex on Fire" (both from the same interview), as opposed to the EL8X.

Used as a room mic for some of Only by the Night, as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."

Given that Blackbird Studios' condensor microphone list includes the original C12, the C12VR and the C12A, King leaves the microphone unspecified. Fortunately, video footage from the Only by the Night sessions (particularly "Day 23" of the "Only by the Night Home Movies" at 2:37) shows the C12A.

Used on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image of the settings can be found here.

• Drums: Massenburg DesignWorks EQ, Bomb Factory BF76, Digidesign Lo–fi, Quad 8 EQ, Chandler TG1, Sontec EQ, Audio Ease Altiverb

"I cut the kick around 255Hz to get rid of some honkiness, and added some 11k on the snare, both with the Massenburg DesignWorks. I also cut a tiny bit around 263Hz on the overheads, and sent them through a Bomb Factory BF76, which is a plug–in version of the 1176, just to control the snare transients a little bit in the overhead picture. I also EQed the toms to roll back some of the tubbiness on them. There's a Lo–fi plug-in on Room 1, to take the cymbal wash down and dirty it up; when you reduce the sample rate and bit depth you also lose high frequencies. I cut everything below 206Hz with the Massenburg on the Simmons drums to clean up any unwanted frequencies. For the rest, there's nothing dramatic on the drums, just some specific shaping with digital EQs and opening up the top and bottom with outboard or the Quad 8 EQ. All the drums were bussed and sent to an outboard compressor, the Chandler TG1, for parallel bus compression. I also had a Sontec EQ on the drum bus. The Altiverb works primarily on the snare, kick and toms, just to give them a little bit more space. I set it to a room at Ocean Way Studios, so it's not a big splashy reverb."

The image and this Universal Audio interview with King reveal that the unit is a Coronado-issue EQ-333.

I have the Fulcrum, which is a passive summing device, and then I have a custom Quad-8 console. It’s a Coronado, which is a 40-channel desk, like a late '70s design, early '80s. I had it made into two sidecars. So those three things I sort of switch off between them, use them in combination.

I've never heard of that board. A Coronado?

It's from Quad-8. They were built in North Hollywood. They're really excellent. Some of the design engineers from API were part of this company, and Dean Jensen. It has Jensen transformers in it. It's a pretty extraordinary console, just because the headroom that it has, and the sound. Sonically, to me, it sounds like a combination between an API and a classic Neve.

Used on "Use Somebody", as stated by Only by the Night producer Jacquire King in this July 31, 2019 interview with producer Warren Huart at 1:24:07.

This is my Gretsch drum kit, it's a 1959 Round Badge. This is the drum kit that was used on "Use Somebody". We used bunch of different drum kits, but we started with mine. (...) It just happened that this is the drum kit that we started with and we started with that song and so, we ended up using that and then also, this Acrolite snare drum was used on several songs, but (...) this is also the snare that was used on "Use Somebody".

Used for some of Only by the Night, particularly on "Use Somebody", as stated by Only by the Night producer Jacquire King in this July 31, 2019 interview with producer Warren Huart at 1:24:07.

This is my Gretsch drum kit, it's a 1959 Round Badge. This is the drum kit that was used on "Use Somebody". We used bunch of different drum kits, but we started with mine. (...) It just happened that this is the drum kit that we started with and we started with that song and so, we ended up using that and then also, this Acrolyte snare drum was used on several songs, but (...) this is also the snare that was used on "Use Somebody".

The Brady Drums page for Nathan Followill shows him using a Brady 14 x 6.5 Hybrid Block (Jarrah & Sheoak).

On the DW artist page for Nathan Followill, it lists Nathan having three DW 9700 cymbal stands in his setup.

On the DW artist page for Nathan Followill, it lists Nathan having a DW 9799 double tom/cymbal stand in his setup.

On the DW artist page for Nathan Followill, it lists Nathan having a DW 5300 snare stand in his setup.

On the DW artist page for Nathan Followill, it lists Nathan as having a DW 9500 hihat stand in his setup.

On the DW artist page for Nathan Followill, it lists Nathan having a DW9000 single pedal in his setup.

The Zildjian artist page lists Nathan Followill as using a Zildjian 24" A Medium Ride cymbal.

Nathan Followill's artist page for Zildjian lists the Zildjian 24" K Light Ride as part of his setup.

The Zildjian artist page lists Nathan Followill as using a Zildjian 20" A Custom Crash in his cymbal setup.

In this photo posted to his Twitter account, Nathan Followill shows he uses the Remo Powerstroke 3 drum head on the batter side of the bass drum.