Pat Mastelotto

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."

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."

"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."

"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."

"Pro Tools HD with a 192 HD. I also use Abelton Live a lot; in fact, 99% of the first Tuner album was recorded direct to Abelton. Live really dominates my laptop on the road with my project KTU: The house is a surround mix, so I use an M-Audio interface to give the house multiple outs."

"Dedicated Mac G5 for Pro Tools and plug-ins, and a G4 laptop that I also take on the road to run Ableton and others."

"Dedicated Mac G5 for Pro Tools and plug-ins, and a G4 laptop that I also take on the road to run Ableton and others."