Alan Wren

Used for the snare on Second Coming, as mentioned by producer Simon Dawson in the January 14, 1995 Melody Maker interview "Diary of an LP: the Stone Roses' Second Coming, Part One" by Tom Doyle.

"Oh yeah, the same old skins and everything. I don't think he changed a skin in the whole time — they've probably been on there for years. Sometimes we'd use an acoustic tunnel if there was too much ambience, but not very often because we quite liked the live-sounding bass drum. The snare was miked up by a straight Shure SM57, the toms were all Sennheiser 421s, the overheads — which are probably the best overhead mikes I've heard in my life — were Neumann 56s, which are valve pencil mikes. In fact, you get a great kit sound just from the overheads, so we tended to build up the sound of the kit around those. We'd also use a pair of straightforward Neumann U87s and maybe an SM2 valve, either Telefunken or Neumann — it's a stereo mike and we used that sometimes in the corridor that runs along the side of the live room. We'd open the door and record the sound of the corridor as well."

Used for the overheads on Second Coming, as mentioned by producer Simon Dawson in the January 14, 1995 Melody Maker interview "Diary of an LP: the Stone Roses' Second Coming, Part One" by Tom Doyle.

"Oh yeah, the same old skins and everything. I don't think he changed a skin in the whole time — they've probably been on there for years. Sometimes we'd use an acoustic tunnel if there was too much ambience, but not very often because we quite liked the live-sounding bass drum. The snare was miked up by a straight Shure SM57, the toms were all Sennheiser 421s, the overheads — which are probably the best overhead mikes I've heard in my life — were Neumann 56s, which are valve pencil mikes. In fact, you get a great kit sound just from the overheads, so we tended to build up the sound of the kit around those. We'd also use a pair of straightforward Neumann U87s and maybe an SM2 valve, either Telefunken or Neumann — it's a stereo mike and we used that sometimes in the corridor that runs along the side of the live room. We'd open the door and record the sound of the corridor as well."

Used for the toms on Second Coming, as mentioned by producer Simon Dawson in the January 14, 1995 Melody Maker interview "Diary of an LP: the Stone Roses' Second Coming, Part One" by Tom Doyle.

"Oh yeah, the same old skins and everything. I don't think he changed a skin in the whole time — they've probably been on there for years. Sometimes we'd use an acoustic tunnel if there was too much ambience, but not very often because we quite liked the live-sounding bass drum. The snare was miked up by a straight Shure SM57, the toms were all Sennheiser 421s, the overheads — which are probably the best overhead mikes I've heard in my life — were Neumann 56s, which are valve pencil mikes. In fact, you get a great kit sound just from the overheads, so we tended to build up the sound of the kit around those. We'd also use a pair of straightforward Neumann U87s and maybe an SM2 valve, either Telefunken or Neumann — it's a stereo mike and we used that sometimes in the corridor that runs along the side of the live room. We'd open the door and record the sound of the corridor as well."

Used as a room mic for Second Coming, as mentioned by producer Simon Dawson in the January 14, 1995 Melody Maker interview "Diary of an LP: the Stone Roses' Second Coming, Part One" by Tom Doyle.

"Oh yeah, the same old skins and everything. I don't think he changed a skin in the whole time — they've probably been on there for years. Sometimes we'd use an acoustic tunnel if there was too much ambience, but not very often because we quite liked the live-sounding bass drum. The snare was miked up by a straight Shure SM57, the toms were all Sennheiser 421s, the overheads — which are probably the best overhead mikes I've heard in my life — were Neumann 56s, which are valve pencil mikes. In fact, you get a great kit sound just from the overheads, so we tended to build up the sound of the kit around those. We'd also use a pair of straightforward Neumann U87s and maybe an SM2 valve, either Telefunken or Neumann — it's a stereo mike and we used that sometimes in the corridor that runs along the side of the live room. We'd open the door and record the sound of the corridor as well."

Used as a room mic for Second Coming, as mentioned by producer Simon Dawson in the January 14, 1995 Melody Maker interview "Diary of an LP: the Stone Roses' Second Coming, Part One" by Tom Doyle.

"Oh yeah, the same old skins and everything. I don't think he changed a skin in the whole time — they've probably been on there for years. Sometimes we'd use an acoustic tunnel if there was too much ambience, but not very often because we quite liked the live-sounding bass drum. The snare was miked up by a straight Shure SM57, the toms were all Sennheiser 421s, the overheads — which are probably the best overhead mikes I've heard in my life — were Neumann 56s, which are valve pencil mikes. In fact, you get a great kit sound just from the overheads, so we tended to build up the sound of the kit around those. We'd also use a pair of straightforward Neumann U87s and maybe an SM2 valve, either Telefunken or Neumann — it's a stereo mike and we used that sometimes in the corridor that runs along the side of the live room. We'd open the door and record the sound of the corridor as well."