Brendan Dekora Drum Samples Collection

You've had quite a successful career as an audio engineer and producer, working with many well-known artists like Steven Wilson, Trent Reznor and Nine Inch Nails, Danzig and the Foo Fighters - how did you get your start and what led you to want to get into this line of work?

I started as a drummer with a passion for rock music. I knew I wanted to do something in the production side and I was always interested in the secrets of the studio. I went to a live show one night and saw the front of house mixer and it got my wheels turning. I knew I didn’t want to do live sound, but seeing the console made me interested in production and I thought of the studio side of things. I dove into a rabbit hole about it, found a school where I could learn about it and start my career, and never looked back.

What are some of the biggest challenges you face working with artists in the studio? How do you overcome those challenges?

Often the big challenge is being limited by the artist’s instrument and their technical skills in getting it to sound great. As an engineer I am limited by the instrument the artist brings, and if it doesn’t sound good, I can only take it so far. Of course I can make suggestions on tuning and setup, but in the end it’s my job to capture the artist’s vision, and sometimes a good sound is not as appealing as a cool sound. Making the instrument work for the artist’s vision is ultimately the goal, and it doesn’t always mean that I make it sound as good as possible, but interesting instead. Most people would prefer something with character than something that is as pristine as possible.

Speaking of studios, you've worked in some amazing studios over the years. What are some of your favorite rooms - and why are they your favorite?

Well I would have to say EastWest Studios. I worked there on staff so I have an intimate understanding of the rooms. I am well aware that the experience spoiled me a bit, as the rooms and gear sound so great there that it makes the job very easy.
I also really enjoyed working at Sonic Ranch in Texas. A big part of it is the experience, it’s a retreat studio where they provide the lodging and meals, on a ranch in the middle of nowhere. The studios are fully stocked with every mic and instrument you could ever want, it’s a unique experience and I look forward to working there more.

Let's talk a little bit about your approach to recording and mixing drums. Whether its a live kit or virtual drums/samples - what are some tips you can share with us on how to make acoustic drums really stand out in a mix?

I know this sounds cliche, but it’s important to get the drums sounding great before placing a mic. Get the tuning right and also the placement in the room to maximize the acoustics. From there I like to have numerous room mic options, of course checking phase for the wide stereo pairs, they can be nudged later to get better phase with the close mics, but you can’t change the phase within the pair. For mixing techniques and more details on mic preferences and more, check out my free guide here.

What's your favorite must-have gear in the studio? Basically, you couldn't do your job without these tools:

The most important for me are a great pair of monitors that you know and understand. Working with monitors that you’re unsure of can cause major problems with translation when you leave the studio. My preference is the Focal Trio6 BE, with their sub too. Other than that, I really pride myself on using my skills to get great sounds with whatever the gear. Amazing sounds can be had in almost any room if you have the right knowledge and experience to maximize the results.

What's the best advice a legendary engineer or producer ever gave you?

“It’s the cookin’ not the kitchen.”

I’ve known engineers who can mix hip hop low-end on tiny auratone speakers that don’t reproduce any low-end at all. They learned how they respond and their characteristics so well that they could mix on them, then flip on the massive speakers and have perfect low-end. I’ve seen engineers mix with a literal mountain of the best outboard gear, get a great mix, and the next guy uses nothing but the console and one reverb, and also gets an amazing mix. It’s about developing your skills to be able to get amazing results wherever you are and with any gear. Yes of course working in a world-class facility makes the job easy, but by honing your skills you can be comfortable anywhere and get amazing results.

In addition to established, well-known artists, you also work with a lot of up & coming artists. What's some good advice you can give new artists who want a career in music?

The industry is completely different than it was when I started. Now there are more people making a great living with music as an independent than ever before. Yes it takes work and an understanding of the business side, but it’s very possible. But please don’t spend many long weeks and months making and producing music only to release it with zero marketing. In today’s industry the independent artist needs to be the artist and the label. To learn about music marketing is important to have a lasting career in music. We need to think about the art and the business. It is hard but very possible, before you needed a mountain of money to book studios, engineers, producers, and tours before you ever saw a dime. Now so much can be done with a modest amount, and can lead to a very healthy and successful career.

You've just released your first drum sample pack with drumatica™, the 1936 Leedy Kit. Tell us your thoughts on this kit and what folks can expect to hear.

The 1936 Leedy Kit in the Drumatica series is really something special. It's got this vintage vibe to it - a certain timelessness that's not easy to find these days. Despite its age, I mixed it so that it slots right into modern productions.

You've mixed quite a few packs already for us, and we're excited to release those over the coming months.

Working alongside drumatica™ has been a great experience. I’ve taken on the task of mixing drum kits from various eras, and every one of them has their own unique sonic fingerprint. Growing up as a drummer myself, I always strive to get natural sounds in my mixes. I like to find that blend where it feels natural while also being exciting and interesting. They're unpretentious, true-to-life sounds - no over-processing with reverbs and effects. And as for what's coming next? Well, let's just say it's as diverse and intriguing as the history of drums themselves. This journey has been about authenticity, about appreciating drums for their innate character. I can't wait for what's coming soon!