Keith Carlock

Used 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.”

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

"Donald had done his other overdubs there," comments the engineer, "and was comfortable there. They have a Neve VR and all the analogue equipment that we needed, so it made sense to mix there. The mixes went from Pro Tools through the Neve VR and then to two-track half-inch analogue. Since I hardly use EQ during mixing, any EQ that I do will be applied during the mix. So I did some EQ-ing, and added some reverb, using the EMT 140 plates at Avatar, and also a Lexicon 480 and a TC3000. I only used room mics on the drums. I also used a Fairchild 670 on the bass and kick drum. There was no compression during recording."

Used to record all instruments on Donald Fagen's Morph the Cat, as stated by Fagen and mix engineer Elliott Scheiner in this August 2006 Sound on Sound interview.

Scheiner adds that he 'seldom' uses EQ during the mix, and that Morph The Cat was recorded via Clinton's Neve 8078 directly to analogue 24-track. Straightforward recording to analogue without much processing is now Fagen's favoured approach, says he. "It's the sound I like. It's not necessary to have the latest equipment. Today I think that I could use any studio, and any equipment, and all I need is good players and it will sound good. I like the sound of jazz records recorded in the late 1950s. I love the sound of Rudy van Gelder's records for Prestige. I can't imagine anything sounding better. Van Gelder's jazz recordings definitely influenced the Steely Dan recording and mixing style."