Pat Mastelotto

Pat Mastelotto says on his website that he uses the TD-20, and it can be seen in photos of his kit.

"But for less conventional applications I have some huge Taos drums and some old Radio Kings."

Mastelotto isn't shy with electronics. He used "a fair amount of samples" for composite snare sounds, including three alone for "King for a Day," played on a Roland Octopad, and the overtone of "a very ringy Ludwig similar to a tube-lug snare" sampled on an Akai S900. The drummer and his tech Paul Mitchell bent the samples with a warp function "to a note that sounded good" for each track. Tabourine-shaker, congas, tablas and other oriental percussion came from Casio FZ-1 samplers. A Yamaha RX5 drum machine crops up on the fade of "Hold Me My Daddy"; elsewhere Mastelotto used an MX8 MIDI patch bay to increase the velocity of a LinnDrum fed into a Yamaha QX2 program. An old Simmons SD55's kicks and snares are on "Chalkhills and Children" and "Poor Skeleton Steps Out." There's a Pearl SC-40 on "Cynical Days" -- "similar to a tambourine but more of a bongo" -- and "Garden of Earthly Delights," "for a low kick that bends up like a tabla." "Garden" also employs a Roland TR727 drum loop. And Mastelotto still uses sticks: Pro-Mark 5Bs or 909s, "butt-end."

Mastelotto isn't shy with electronics. He used "a fair amount of samples" for composite snare sounds, including three alone for "King for a Day," played on a Roland Octopad, and the overtone of "a very ringy Ludwig similar to a tube-lug snare" sampled on an Akai S900. The drummer and his tech Paul Mitchell bent the samples with a warp function "to a note that sounded good" for each track. Tabourine-shaker, congas, tablas and other oriental percussion came from Casio FZ-1 samplers. A Yamaha RX5 drum machine crops up on the fade of "Hold Me My Daddy"; elsewhere Mastelotto used an MX8 MIDI patch bay to increase the velocity of a LinnDrum fed into a Yamaha QX2 program. An old Simmons SD55's kicks and snares are on "Chalkhills and Children" and "Poor Skeleton Steps Out." There's a Pearl SC-40 on "Cynical Days" -- "similar to a tambourine but more of a bongo" -- and "Garden of Earthly Delights," "for a low kick that bends up like a tabla." "Garden" also employs a Roland TR727 drum loop. And Mastelotto still uses sticks: Pro-Mark 5Bs or 909s, "butt-end."

"For about fifteen years I’ve been using KROKs powered by a Yamaha 2200. Recently I learned they have a significant high-mid boost, and that might have worked in the favor of an old deaf drummer to not add more high-mids. I also use two self-powered M-Audio pairs (one with a sub), Yamaha NS10s, and various Horratones so I can go between and compare. Plus I monitor with headphones, especially late at night. For tracking I love the Vic Firth phones. All this is configured through a Mackie Big Knob."

Mastelotto isn't shy with electronics. He used "a fair amount of samples" for composite snare sounds, including three alone for "King for a Day," played on a Roland Octopad, and the overtone of "a very ringy Ludwig similar to a tube-lug snare" sampled on an Akai S900. The drummer and his tech Paul Mitchell bent the samples with a warp function "to a note that sounded good" for each track. Tabourine-shaker, congas, tablas and other oriental percussion came from Casio FZ-1 samplers. A Yamaha RX5 drum machine crops up on the fade of "Hold Me My Daddy"; elsewhere Mastelotto used an MX8 MIDI patch bay to increase the velocity of a LinnDrum fed into a Yamaha QX2 program. An old Simmons SD55's kicks and snares are on "Chalkhills and Children" and "Poor Skeleton Steps Out." There's a Pearl SC-40 on "Cynical Days" -- "similar to a tambourine but more of a bongo" -- and "Garden of Earthly Delights," "for a low kick that bends up like a tabla." "Garden" also employs a Roland TR727 drum loop. And Mastelotto still uses sticks: Pro-Mark 5Bs or 909s, "butt-end."

Mastelotto isn't shy with electronics. He used "a fair amount of samples" for composite snare sounds, including three alone for "King for a Day," played on a Roland Octopad, and the overtone of "a very ringy Ludwig similar to a tube-lug snare" sampled on an Akai S900. The drummer and his tech Paul Mitchell bent the samples with a warp function "to a note that sounded good" for each track. Tabourine-shaker, congas, tablas and other oriental percussion came from Casio FZ-1 samplers. A Yamaha RX5 drum machine crops up on the fade of "Hold Me My Daddy"; elsewhere Mastelotto used an MX8 MIDI patch bay to increase the velocity of a LinnDrum fed into a Yamaha QX2 program. An old Simmons SD55's kicks and snares are on "Chalkhills and Children" and "Poor Skeleton Steps Out." There's a Pearl SC-40 on "Cynical Days" -- "similar to a tambourine but more of a bongo" -- and "Garden of Earthly Delights," "for a low kick that bends up like a tabla." "Garden" also employs a Roland TR727 drum loop. And Mastelotto still uses sticks: Pro-Mark 5Bs or 909s, "butt-end."

Mastelotto isn't shy with electronics. He used "a fair amount of samples" for composite snare sounds, including three alone for "King for a Day," played on a Roland Octopad, and the overtone of "a very ringy Ludwig similar to a tube-lug snare" sampled on an Akai S900. The drummer and his tech Paul Mitchell bent the samples with a warp function "to a note that sounded good" for each track. Tabourine-shaker, congas, tablas and other oriental percussion came from Casio FZ-1 samplers. A Yamaha RX5 drum machine crops up on the fade of "Hold Me My Daddy"; elsewhere Mastelotto used an MX8 MIDI patch bay to increase the velocity of a LinnDrum fed into a Yamaha QX2 program. An old Simmons SD55's kicks and snares are on "Chalkhills and Children" and "Poor Skeleton Steps Out." There's a Pearl SC-40 on "Cynical Days" -- "similar to a tambourine but more of a bongo" -- and "Garden of Earthly Delights," "for a low kick that bends up like a tabla." "Garden" also employs a Roland TR727 drum loop. And Mastelotto still uses sticks: Pro-Mark 5Bs or 909s, "butt-end."

Mastelotto isn't shy with electronics. He used "a fair amount of samples" for composite snare sounds, including three alone for "King for a Day," played on a Roland Octopad, and the overtone of "a very ringy Ludwig similar to a tube-lug snare" sampled on an Akai S900. The drummer and his tech Paul Mitchell bent the samples with a warp function "to a note that sounded good" for each track. Tabourine-shaker, congas, tablas and other oriental percussion came from Casio FZ-1 samplers. A Yamaha RX5 drum machine crops up on the fade of "Hold Me My Daddy"; elsewhere Mastelotto used an MX8 MIDI patch bay to increase the velocity of a LinnDrum fed into a Yamaha QX2 program. An old Simmons SD55's kicks and snares are on "Chalkhills and Children" and "Poor Skeleton Steps Out." There's a Pearl SC-40 on "Cynical Days" -- "similar to a tambourine but more of a bongo" -- and "Garden of Earthly Delights," "for a low kick that bends up like a tabla." "Garden" also employs a Roland TR727 drum loop. And Mastelotto still uses sticks: Pro-Mark 5Bs or 909s, "butt-end."

Mastelotto isn't shy with electronics. He used "a fair amount of samples" for composite snare sounds, including three alone for "King for a Day," played on a Roland Octopad, and the overtone of "a very ringy Ludwig similar to a tube-lug snare" sampled on an Akai S900. The drummer and his tech Paul Mitchell bent the samples with a warp function "to a note that sounded good" for each track. Tabourine-shaker, congas, tablas and other oriental percussion came from Casio FZ-1 samplers. A Yamaha RX5 drum machine crops up on the fade of "Hold Me My Daddy"; elsewhere Mastelotto used an MX8 MIDI patch bay to increase the velocity of a LinnDrum fed into a Yamaha QX2 program. An old Simmons SD55's kicks and snares are on "Chalkhills and Children" and "Poor Skeleton Steps Out." There's a Pearl SC-40 on "Cynical Days" -- "similar to a tambourine but more of a bongo" -- and "Garden of Earthly Delights," "for a low kick that bends up like a tabla." "Garden" also employs a Roland TR727 drum loop. And Mastelotto still uses sticks: Pro-Mark 5Bs or 909s, "butt-end."

"Like in 'Broken Wings,' the Mr. Mister hit, I didn’t play the kick drum. I sequenced the kick drum on the Linndrum and the bass line was sequenced as well. That was the tightest way to give that track the identity that it needed."

Pat Mastelotto uses Paiste 14" Signature Sound Edge Hi-Hats, according to the Paiste website.

Pat Mastelotto uses Paiste 22" Master Dark Crisp Ride, according to the Paiste website.

Pat Mastelotto uses Paiste 20" Signature Full Crash, according to the Paiste website.

"I used nine V drum pads, five DrumTec pads and a Korg wave drum. The V pads went into a Roland TD10, and the Drum Tec pads went into my D Drum 3 brain. The signals from the V kick and V snare pads were ‘Y’ to access both brains from the same pad. An additional pad sat under the hi-hat area, to my left, and was ‘Y’ to the kick pad, allowing me to play the same kick sample with my hand."

"I used nine V drum pads, five DrumTec pads and a Korg wave drum. The V pads went into a Roland TD10, and the Drum Tec pads went into my D Drum 3 brain. The signals from the V kick and V snare pads were ‘Y’ to access both brains from the same pad. An additional pad sat under the hi-hat area, to my left, and was ‘Y’ to the kick pad, allowing me to play the same kick sample with my hand."

"I used nine V drum pads, five DrumTec pads and a Korg wave drum. The V pads went into a Roland TD10, and the Drum Tec pads went into my D Drum 3 brain. The signals from the V kick and V snare pads were ‘Y’ to access both brains from the same pad. An additional pad sat under the hi-hat area, to my left, and was ‘Y’ to the kick pad, allowing me to play the same kick sample with my hand."

"The midi out of the TD10 and D Drum3, and Notron sequencer went into an MX8 midi patchbay, this allowed me the speed of direct analog input to the V & D brains, but the flexibility to route and merge anything via midi. Additional midi sound sources I used were the Alesis DM pro and an Emu Audity 2000 (the audity was never used on the record). I could also access my samplers, an old Kurzweil K2000 and a Roland S760, plus sounds in realtime from my beatboxs, an MC303 and a Tribe ER1. However for this Crim record no beatboxes were used. ProjeKct X is a different story....beatboxes survived!!!"

"The midi out of the TD10 and D Drum3, and Notron sequencer went into an MX8 midi patchbay, this allowed me the speed of direct analog input to the V & D brains, but the flexibility to route and merge anything via midi. Additional midi sound sources I used were the Alesis DM pro and an Emu Audity 2000 (the audity was never used on the record). I could also access my samplers, an old Kurzweil K2000 and a Roland S760, plus sounds in realtime from my beatboxs, an MC303 and a Tribe ER1. However for this Crim record no beatboxes were used. ProjeKct X is a different story....beatboxes survived!!!"

"The midi out of the TD10 and D Drum3, and Notron sequencer went into an MX8 midi patchbay, this allowed me the speed of direct analog input to the V & D brains, but the flexibility to route and merge anything via midi. Additional midi sound sources I used were the Alesis DM pro and an Emu Audity 2000 (the audity was never used on the record). I could also access my samplers, an old Kurzweil K2000 and a Roland S760, plus sounds in realtime from my beatboxs, an MC303 and a Tribe ER1. However for this Crim record no beatboxes were used. ProjeKct X is a different story....beatboxes survived!!!"

"The midi out of the TD10 and D Drum3, and Notron sequencer went into an MX8 midi patchbay, this allowed me the speed of direct analog input to the V & D brains, but the flexibility to route and merge anything via midi. Additional midi sound sources I used were the Alesis DM pro and an Emu Audity 2000 (the audity was never used on the record). I could also access my samplers, an old Kurzweil K2000 and a Roland S760, plus sounds in realtime from my beatboxs, an MC303 and a Tribe ER1. However for this Crim record no beatboxes were used. ProjeKct X is a different story....beatboxes survived!!!"

"The midi out of the TD10 and D Drum3, and Notron sequencer went into an MX8 midi patchbay, this allowed me the speed of direct analog input to the V & D brains, but the flexibility to route and merge anything via midi. Additional midi sound sources I used were the Alesis DM pro and an Emu Audity 2000 (the audity was never used on the record). I could also access my samplers, an old Kurzweil K2000 and a Roland S760, plus sounds in realtime from my beatboxs, an MC303 and a Tribe ER1. However for this Crim record no beatboxes were used. ProjeKct X is a different story....beatboxes survived!!!"

"The midi out of the TD10 and D Drum3, and Notron sequencer went into an MX8 midi patchbay, this allowed me the speed of direct analog input to the V & D brains, but the flexibility to route and merge anything via midi. Additional midi sound sources I used were the Alesis DM pro and an Emu Audity 2000 (the audity was never used on the record). I could also access my samplers, an old Kurzweil K2000 and a Roland S760, plus sounds in realtime from my beatboxs, an MC303 and a Tribe ER1. However for this Crim record no beatboxes were used. ProjeKct X is a different story....beatboxes survived!!!"

"All my audio went through a Mackie 24 X 8, so I could buss 8 inputs to tape, an additional 2 inputs to tape came from the B mix. The 2 mix was used as a live monitor mix after going through a Trace Elliot amp and Celestion speakers. In addition I had a TC Fireworx and a Korg Kaos pad as effects in my rig and at my feet two stomp boxes (a comptortion and an Electro Harmonics Micro bass synth) to send to tape. Tama kick pedal, Vic Firth sticks, maglight and a red screwdriver."

"All my audio went through a Mackie 24 X 8, so I could buss 8 inputs to tape, an additional 2 inputs to tape came from the B mix. The 2 mix was used as a live monitor mix after going through a Trace Elliot amp and Celestion speakers. In addition I had a TC Fireworx and a Korg Kaos pad as effects in my rig and at my feet two stomp boxes (a comptortion and an Electro Harmonics Micro bass synth) to send to tape. Tama kick pedal, Vic Firth sticks, maglight and a red screwdriver."

"After we got to tape we really went to work. Engineer Bill Munyon and I transferred ‘the take’ to Pro Tools where we could replace or add sounds and effects, and correct both the midi and human latency. Often we made additional passes through my Fireworx or put various combinations through my Dayking EQ or guitar amps (a matchless or small smokie amp) and re-mic them to add air, space and fizz. A Sherman Filter Bank was also used in abundance to further recharge the limp sounds. Some PT plug-ins (amp farm, vari-fi, lo-fi, pitch change, time expansion, Reso & Bruno) were used. On a few occasions additional Paiste cymbals, Saragosa percussion, Taos drums, a bit of found percussion or an old drumkit were overdubbed. As we approached the final mix my drums might be as wide as 28 tracks, so instruments were sub mixed in ProTools down to 14 faders on the mixing desk. The general approached was 2 tracks each for kicks, snares, toms, cyms, samples, loops & effects. I generally had 3 snare sounds (original, ringy and crispy) arranged in stereo on the two snare faders. Similarly the feet (boomy, chesty, etc.) were brought up on two faders and cymbal faders might include metal overdubs or metallic effects and so on. Additional compression and a bit of 'verb were added at the mix. That's basically it."

"After we got to tape we really went to work. Engineer Bill Munyon and I transferred ‘the take’ to Pro Tools where we could replace or add sounds and effects, and correct both the midi and human latency. Often we made additional passes through my Fireworx or put various combinations through my Dayking EQ or guitar amps (a matchless or small smokie amp) and re-mic them to add air, space and fizz. A Sherman Filter Bank was also used in abundance to further recharge the limp sounds. Some PT plug-ins (amp farm, vari-fi, lo-fi, pitch change, time expansion, Reso & Bruno) were used. On a few occasions additional Paiste cymbals, Saragosa percussion, Taos drums, a bit of found percussion or an old drumkit were overdubbed. As we approached the final mix my drums might be as wide as 28 tracks, so instruments were sub mixed in ProTools down to 14 faders on the mixing desk. The general approached was 2 tracks each for kicks, snares, toms, cyms, samples, loops & effects. I generally had 3 snare sounds (original, ringy and crispy) arranged in stereo on the two snare faders. Similarly the feet (boomy, chesty, etc.) were brought up on two faders and cymbal faders might include metal overdubs or metallic effects and so on. Additional compression and a bit of 'verb were added at the mix. That's basically it."

"At home I do most of my mixing in the box–that’s to say, inside Pro Tools. For serious mixing I go off campus. On the input side I have a few nice pre-amps like Amek, Neve, API, Daking, and the underrated Drawmer 1960. And for overflow I have several Mackies (32×8, 1604, 1202) and a few Presonus pre’s."

"At home I do most of my mixing in the box–that’s to say, inside Pro Tools. For serious mixing I go off campus. On the input side I have a few nice pre-amps like Amek, Neve, API, Daking, and the underrated Drawmer 1960. And for overflow I have several Mackies (32×8, 1604, 1202) and a few Presonus pre’s."

"At home I do most of my mixing in the box–that’s to say, inside Pro Tools. For serious mixing I go off campus. On the input side I have a few nice pre-amps like Amek, Neve, API, Daking, and the underrated Drawmer 1960. And for overflow I have several Mackies (32×8, 1604, 1202) and a few Presonus pre’s."