Here are a couple of pics of session drummer Shay Godwin with Parton:

Session drummer Shay Godwin provides drum tracks online to clients worldwide. For his online drum tracks and for all recording sessions he has control over, Bell Sound in Hollywood is the place to go. Session drummer and string quartet alike enjoy the large, Vincent Van Haaf-designed tracking room. Drum tracks exhibit separation and clarity. eDrumSessions is a full service online recording studio, ready for online drum tracks, guitar tracks, bass tracks, string tracks, pedal steel tracks, lap steel tracks, horn tracks, vocal tracks, mixing, mastering, and anything else you could need. We have top quality session drummers available, as well as session guitarists and any other instrument you need. Let eDrumSessions.com give your music the life you envision. It starts with the drum tracks!

A proper live room for tracking a session drummer should ideally be large, so that the sound waves can mature and early reflections are minimized. Of course, smaller rooms can benefit from creative sound control devices such as absorbers and diffusers, but there’s nothing like the sound of real drums in a large live room for maximum clarity and impact.

Here’s why: When “trapping” a smaller room with acoustic devices you end up with drums that tend to sound boxy and small. Because the air around the kit is literally being absorbed and controlled, the kit never gets to “breathe”, producing a dry and boxy sound with your drum tracks. This is most easily heard in the Overhead and Room mics. Also, the smaller footprint also emphasizes lower midrange frequencies — you know, the ones that that produce those nasty nasal tones you can never really dial out once recorded. The low end also has no room to naturally expand, thus rendering your kick sounds anemic. This all means small drum sounds.

Regardless of room size, a live room must have a decent balance of hard surfaces (reflection) and soft surfaces (absorption). Importantly, the reflective surfaces should be broken up as much as possible, i.e. few parallel surfaces. This again produces the most natural recordings even amongst the many individual elements of a close mic’d drum kit. The separation and clarity the drums tracks will exhibit in a properly designed space is a revelation to hear – and once you hear your drum tracks this way you’ll never go back!

The control room is just as important as the live room, because for an engineer to get good drum sounds he needs to be able to hear accurately. Merely placing good equipment in a sub standard room is not good enough. You’d never cook a fancy meal in a dirty kitchen, yet why do so many engineers choose this route? Because properly designed rooms aren’t cheap to design, cheap to build, or cheap to implement!

Good speakers are good speakers. They were designed and manufactured under strict tolerances and in well-tuned environments. They are made to be used in proper spaces that won’t skew the acoustic frequency response and dynamic output, much like a Ferrari is designed to be driven on a race track. Putting one in traffic during rush hour would be compromising its performance characteristics. It would also compromise and skew the driver’s opinion of the car, thus rendering his judgment incorrect.

Performance speakers in a poor room ends up with the same results. Every day, recording engineers listen to their expensive speakers in flawed rooms and end up making very poor EQ and mic placement choices through no fault of their own. Their speakers and room in concert are lying to them. And they don’t know it! Thus, your drum tracks are flawed and incorrectly balanced – inhibiting you from producing truly stunning mixes of your precious material.
As there are many online session drummer services, there are many different types of room being used. These rooms range from closets and bedrooms in houses to large, professionally designed rooms in commercial recording studios.

Obviously going with rooms designed professionally for the purpose of recording is generally going to be the best idea. Such rooms are designed to be acoustically “flat”. This means that the room dimensions and construction are such that no frequencies are boosted, or attenuated, by the room itself and have the geometric properties previously discussed.

Before we look at professional rooms, lets take a general look at the many session drummers who operate in a home studio situation.

It is possible to get great drum sounds in a house. I have been session drummer on recordings done in houses that sound amazing. Some famous artists have made recordings in houses with excellent results, such as The Rolling Stones’ “Exile On Main Street”.

But more often than not, session drummers operating out of home studios have huge acoustical issues they are not even be aware of, and have tuned neither their tracking room nor control room. Often they just “deaden” things in the room, controlling some high-frequency issues by over-using soft materials but doing nothing for low-frequency issues.

Then there is the other end of the spectrum: professionally designed tracking and control rooms in a commercial recording studio.

For an example of a modern standard in studio design, one can look to rooms by the great Vincent Van Haaf. Van Haaf is the designer and architect of rooms in many studios, including the famous Conway Studios of Los Angeles. The main idea of the Van Haaf approach involves the use of geometry and space. There will be NO parallel surfaces. A control room should be symmetrical from a central line for the purposes of exact stereo imaging.

Van Haaf likes air to be the absorber and diffuser instead of relying on soft, diffusive materials (or as he puts it, “absorption by cotton ball”). This concept applies to both the live and control room.

Those are the basics, but the icing on the cake of Van Haaf’s control room design approach is the ceiling design. It involves designing the room like a big speaker horn, in which the ceiling is angled up and away from the monitors. This kind of design ensures the entire room will be a sweet spot.

As you can see, the design of the control room and tracking room of a studio has as much to do with sound quality of your drum tracks as anything. It is probably the most important factor after the expertise of the recording engineer.

It is worth noting that many online session drummers use the same rooms as tracking room and control room. This is generally to be avoided.

The point is to inquire about the rooms an online session drummer uses if no info is given on the site. If the session drummer records in a house, you don’t need to rule that service out but you must investigate the properties of the rooms.

Ask about dimensions, and request some pictures if none are provided on the site. If you like what you see on the site, you will want to ensure the pictures displayed are indeed the tracking and control rooms being used by the session drummer and engineer.

eDrumSessions is a full online recording studio offering a wide range of services.

These services include drum tracks, grand piano tracks, vocal tracks, guitar, keys, strings, horns, pedal steel, lap steel, mixing, mastering, everything you could need.

In the below video, session drummer Shay Godwin (founder of eDrumSessions) records drum tracks for a Universal library called “Killer Tracks.”

Since this client is in Los Angeles, he came to our recording studio to produce this session. However, even if you are on the other side of the planet you can produce sessions in real time at eDrumSessions. Through the use of NiceCast, our clients can listen in on the recording session live from anywhere in the world (no extra fee for this sevice) and communicate via Skype, iChat, or phone. This is like being in the control room with engineer Thai Long Ly; you can produce the recording session in real time. We encourage this as it keeps the communication high and ensures total satisfaction. Most online recording studios do not offer this option, usually going for a “keep the client at arm’s length” approach.

For clients who do not wish to or cannot schedule a remote recording session, we usually do three takes of a song to give the composer some options. Of course if a chart is sent that is adhered to. This online recording studio is full of professionals of all flavors, and we have musicians that can read fly paper.

The eDrumSessions recording studio is outfitted with top notch gear all around. Vintage Neve 8232 console, modern outboard pres such as the brilliant Geoff Daking models, the most amazing mic locker you could imagine. The tracking room is a masterpiece, designed by the masterful Vincent Van Haaf. Haaf designed the tracking rooms at the legendary Conway Studios.

This place has a vintage Neve 8232 console, and super high-end outboard gear. You won’t find another online recording studio with this kind of gear.

The microphone locker is a dream. We’re talking multiple vintage FETs and tube mics! RCA 77s, Neumann U87s, not to mention a whole bunch of Royers, Coles, Gefells, on and on. There simply are no other online recording studios that have these kind of mics available for use.

The perfectly tuned rooms were designed by a top studio designer whose name cannot be mentioned here to prevent anyone from figuring which studio eDrumSessions is now using.

Why is the name of the new eDrumSessions online recording studio facility confidential?

Because the owner understandably doesn’t want these low prices associated with his recording studio!

People pay *top dollar* at this studio. You are fortunate enough to have found online access to this studio at a fraction of the price you would pay to be there.

Combine all this with access to L.A.’s finest studio musicians, any instrument you need whatsoever, and you have a winning combination. Let eDrumSessions.com take care of all of your online recording studio needs.

Drums are recorded either first or last most of the time, so I want to address these two options specifically.

There are arguments for both choices, and I think either can be a good one. The point is to understand the options so you can decide what is best for your music.

Why not just record all of the instruments at the same time?

In a perfect world, many composers and songwriters would prefer to rent a studio capable of recording multiple instruments (think inputs, separation, etc.) live, with thoroughly rehearsed musicians ready to record as an ensemble.

In the real world, this process is too expensive and impractical for today’s budgets.

The intimidating prospect of paying and organizing the schedules of multiple session musicians (for rehearsals as well as recording), and paying by the minute for a for a well-equiped studio, leads many to record instruments separately.

Let’s explore the option of recording the drum tracks first.

If your arrangement has been worked out during pre-production, you can have the drummer read a chart or listen to MIDI drum parts you have created.

However if your process is going to be more “organic” and you are not entirely sure what the arrangement will be, it is important to have the session drummer play with space. That way you can have room sonically to let the other session musicians come up with great parts.

You don’t want to have a busy drum track that doesn’t leave space for a great vocal lick or Wurlitzer melody you may come up with later.

Some people like to record as they write, which is not for me to promote or criticize.

The point is, if you record the drums first and don’t have your arrangement fully thought out, the drum parts need to be spacious for the benefit of your process.

There are obvious advantages to recording drums first. Certainly session musicians feel more inspired tracking to drums rather than just click and a loop or programmed drum part. Performances are likely to be more energetic that way.

When drums are recorded first, everyone gets to play to the specific drummer’s pocket. If every musician tracks to click that means it is all in time — but the music can be more in the pocket if drums are recorded first for all to track to.

There are also advantages to recording drum tracks last.

The big one is the opportunity for maximum musicality from the drummer, in terms of the actual parts.

A great session drummer can really shape your composition, as well as accentuate subtleties. Both of these concepts can be achieved more easily when the drummer tracks to the (mostly) finished product.

When tracking last, the drummer can accentuate big guitar hits that were not present earlier in the process, or add some nice subtle interplay to vocal riffs during an outro.

These are the types of things that listeners associate with tight, well-rehearsed musicians. Recording drum tracks last can “trick” the listener into thinking they are hearing a live recording of musicians who have performed the material many times.

Essentially, the more information the session drummer gets from what he hears, the more specifically musical he can be.

You can weigh these options and decide what is best for your music. Good luck and make sure you enjoy what you are doing regardless of your logistic decisions.

Drum samples are good for composing and pre-production work.  As for using them for final drum tracks, this is not advisable.  Certain styles of music can use drum samples without suffering badly, but most musical situations require real, custom drum tracks.

Read the full article.

NME has intimated that Morrissey is racist repeatedly since he wrapped himself in the Union flag at a show in Finsbury Park.  It is  baffling that this w as viewed

as racist imagery.

Now Morrissey is taking NME’s publisher, IPC Media, and former editor Conor McNicholas to court for libel.

I’m taking sides on this one.  Go Morrissey, sue their pants off and get them to shut up.  He probably won’t win, but at least he will make a point.

Read more here.

The ad, for GoCompare (UK auto insurance company), is comedic in nature and references the movie “One Million Years B.C.” The feel of the music is shuffle, ironically sounding more like an American shuffle than a Brit-pop shuffle.

Online recording studio eDrumSessions.com is increasingly called upon for studio services by overseas production houses writing commercial music.

Session drummer Godwin recorded the drum tracks online for client Yellow Boat Music, a U.K. commercial production house. These sessions are done remotely, with producer Paul Cartledge communicating in real time via Skype, and listening in on the drum tracks recording session live via NiceCast.

Most commercial recording sessions involve two to three versions of the same song. This is done for different edits of the commercial. Only two edits were done for this session.

This commercial features opera star Gio Compario.

It is becoming common in these modern times for musical collaborations to take place between different nations because of the internet. Online recording studios are becoming an industry mainstay, due to cost-effectiveness of international collaboration that was once extremely expensive due to travel costs.

Here is a press release about the commercial, in which both session drummer Godwin and Yellow Boat Music are mentioned.

In this installment, I will discuss Texture Coated with Power Dot heads, Jack DeJohnette Signature heads, and Super Kick 1 heads.

Texture Coated with Power Dot heads feature a reinforcement dot on the bottom side of the head. On heavy-hitting online drum tracks, I can wail on backbeats with full confidence it the durability of the head, yet sensitivity is not sacrificed one bit. This is a great achievement. Often, reinforcement dots can completely kill the responsiveness of the drum, to the point of “choking” the sound. This is not so with Power Dot heads from Aquarian, which respond to even light orchestral-style playing.

I don’t always hit hard enough to reach for these, but I keep some in my arsenal for certain online drum tracks. If I am doing a hard rock thing, I’m gonna beat the drums hard. With the Power-dot reinforced Texture Coated heads, I can confidently do so. Some would use a double-ply head in this situation. That is fine, I just am personally not into double-ply heads.

The Jack DeJohnette signature heads have the best combination of warmth and clarity I have ever experienced. They are actually black in color, and have a dark tone to them. They are very articulate, despite their dark tone. I have used them for quite a few online drum tracks.

Lastly, I will address the Super Kick bass drum heads I use. These feature a brilliantly designed internal muffling ring that keeps the sound in control. I often will play with nothing inside my kick drum for a nice open sound. The Super Kick heads take extra ring away without killing the tone. The most I ever use is a towel inside the kick. This is often simply so that a mic can be placed inside the bass drum for online drum tracks. The Super Kick allows just enough control of the bass drum overtones, while still leaving it open-sounding.

Hopefully this article helped explain my basic approach to head selection when recording your online drum tracks. Read more articles on this site on the subject of online drum tracks.

In this two-part article series I will describe some of the Aquarian products I use when recording online drum tracks at eDrumSessions. I am not being compensated by Aquarian for this article. However, in the interest of full disclosure I will mention that I am an endorser of Aquarian products. I use Aquarian drumheads in any situation which I have control to do so, and that would certainly would apply to online drum tracks I do through eDrumSessions.

In this first installment, the following products I use for online drum tracks will be covered: Texture Coated, Classic Clear, American Vintage, Modern Vintage, Texture Coated with Power Dot, Jack DeJohnette signature, and Super Kick 1. All of these are one-ply models I use for online drum tracks.

Lets begin with good old Texture Coated heads. Texture Coated heads are my first choice for general playing. The Aquarian coating process has become the industry leader. Chipping almost never happens, and the sound of brush “sweeps” remain nicely even-sounding through many recordings of online drum tracks. It is advantageous to have the surface not get too smooth too fast from brush playing.

I also use Classic Clear heads. Using them as bottom tom heads is a given. If I need more articulation out of my toms, I go to the Classic Clear heads as batter heads as well. I tend to favor the warmth of coated heads in general, but some online drum tracks may call for intricate tom work. One can always tune coated heads tighter to achieve more articulation, but that may not be the best option depending on the style of music. The Classic Clear heads are very useful if I need to tune the toms low but still need a lot of articulation. Again, I default to coated heads. “Tribal” tom work, for instance, can lose some of its weight with clear heads. This is applicable to all clear heads from any manufacturer, not just Aquarian.

The last time I used Classic Clear heads for online drum tracks was on a song for a client from Azerbaijan. The song was an up-tempo, fusion-esque song that called for a lot of articulate tom work, as well as some soloing on my part. I went for the Classic Clears to get that articulation. Although some warmth was sacrificed, for that particular piece of music it was a wise choice.

I have also gotten good results using them on my Ludwigs for a Bonham-esque sound for with of my online drum tracks clients.

American Vintage heads are slightly larger in diameter to fit vintage drums. They have a special coating that is different than the Texture Coated heads. The coating is more textured, which means louder brush sweeps. This is not usually a concern for online drum tracks, but it is helpful live.

The coating on the American Vintage model sounds warmer than Texture Coated heads. Of course some of the attack is minimized, unless they are tuned really tightly. They sound great tuned tightly for straight-ahead jazz music. These heads also sound amazing on my vintage Ludwigs, tuned in any range. They sound beautifully warm and “squishy” when tuned down low, and are a great choice for online drum tracks that require few but dramatic tom hits.

Modern Vintage heads have the same general properties as American Vintage, but are made to fit modern drums. This enables me to get a vintage sound out of a modern kit for online drum tracks.

In Part 2 of this series, I will discuss my use of Texture Coated with Power Dot heads, Jack DeJohnette Signature heads, and Super Kick 1 heads on online drum tracks.

Read more on the Aquarian website.

Bln.kr is highly useful on a time management level, as artists need to be active on social media such as Twitter, Facebook, and YouTube.  Managing multiple platforms takes time, and Bln.kr saves you a lot of time by consolidating everything on to one dashboard.

Another advantage is the real-time display of plays, downloads, ratings, comments, etc.  That way artists can monitor fan reactions to new material.  Also, one does not have to toggle between windows (Twitter, YouTube, FB, etc) when interacting with fans as it is all on one dashboard. 

Some of my online drum track clients have used this service to promote their music, with success.  Check it out!

The new “Full-Range” film has added more clarity and brightness to the Aquarian drumhead sound.  This has been accomplished without losing any of the amazing low end “beef” that Godwin appreciates.  The eDrumSessions online drum tracks sound has just gotten even more mega than it already was.

“Heroes Are Human” is available on iTunes.

Author Frederick has had quite a career.  She has written hundreds of songs that have been placed in television shows and ads, was Director of A&R for Rhino Records, and is currently Director of A&R for TAXI music.  In the book, Frederick recommends online drum tracks from eDrumSessions as a way to increase odds of getting music placed on television and film.

If you would like more info on the show, check out the Facebook event page.

for clients around the globe.  One of the Vater drumstick models he uses is the Stewart Copeland Standard.

According to Godwin, “The Stewarts are a perfect medium-weight stick.  They are similar to 5As but have a different balance and feel.  One of my favorite things is the tip shape of this stick.  It is a great compromise in terms of the conflict between getting fat tom tones and pristine cymbal tones that aren’t ‘clangy’ sounding.”

Here is a link to the Vater Stewart Copeland Standard page.  These may be the sticks Godwin uses for your online drum tracks.

eDrumSessions founder Shay Godwin has been involved in The Dirty Diamond since 2008.  Session drummer Godwin enjoys playing commercial jingles, but he enjoys getting out and playing with creative abandon.  As Babayan says of Godwin, “I feel like since he gets hired for so much session work, The Dirty Diamond is his creative home and refuge where he can be as free and expressive as he likes without any artistic restrictions.”  Babayan had used other drummers previous to using session drummer Godwin, but the personnel has solidified with the current lineup.

Enjoy reading the full article and be sure to check out The Dirty Diamond.

It is an honor to be acknowledged by member of the legendary “Wrecking Crew” of studio musicians that included studio drumming greats Hal Blaine and Earl Palmer.  Kaye has played on countless recordings including hits by The Beach Boys, The Monkees, Frank Zappa, Ray Charles, and the list goes on.  You have also heard her hundreds of movie and television soundtracks.

I think it is time someone made a movie about the Wrecking Crew.  It could be done in a similar vein to “Standing In The Shadows Of Motown”.  These brilliant studio musicians deserve credit for all the music they made, and for being an integral part of American culture.  Their anonymity is no longer historically appropriate.  If a documentary does get made, it will be bittersweet as Earl Palmer has passed.  Sometime I will write about how nice and supportive Earl Palmer was to me when I first moved to Los Angeles.

I love my set of these go-to studio drums. They are warm, punchy, and huge. I don’t use them for everything by any means — but I could easily! Recording Customs are very versatile and have a wide tuning range, though they seem to love being tuned on the lower side. That works fine for me!

McNally also discusses old wood vs. new wood, a subject dear to my heart.  I do not buy new kits, because the wood being used these days in drums comes from tree farms.  The trees from these farms grow really fast due to growth hormones, but don’t have the right kind of density for drums in my opinion and others. Plus, the older wood gets, the better is sounds.

Go ahead and read more about Yamaha Recording Customs if you would like to know more about a drum kit that gets a lot of use at eDrumSessions.

As you may have gathered from the name, these drums are made for the studio.  The birch shells are finely crafted, and birch creates a quick, punchy, warm tone that is great for the studio.  I don’t use them for everything of course.  But I could!

Read more  if you want to know about an integral part of the eDrumSessions arsenal.

These raids are centered around trade laws and ridiculous regulations that are presented as being environmental in nature but in fact do nothing to protect the environment.  Part of the problem here is that India’s laws have retroactively changed to make any non-indigenous working of the wood to be illegal.  Due to trade agreements we have signed on to, we are subject to India’s retroactive law changes.

Not that the laws are clear in any way.  Gibson’s chairman and CEO, Henry Juszkiewicz, said on The Alex Jones Show yesterday that he is not fully clear on what charges he faces.  He is actually suing just to be told what exactly he is under investigation for.

Piano manufacturers have also been targeted, drum manufacturers are probably next.  Barricade your doors, DW!

Here is one article on the Gibson matter.

Folks I suggest you take notice of the tyranny that is occurring everywhere around us.  This is just one example.  Go to infowars.com

for my online drum tracks. In this installment, I will discuss Texture Coated with Power Dot heads, Jack DeJohnette Signature heads, and Super Kick 1 heads.

Texture Coated with Power Dot heads feature a reinforcement dot on the bottom side of the head. On heavy-hitting online drum tracks, I can wail on backbeats and trust the durability of these heads, yet sensitivity is not sacrificed. This is a great achievement. Historically, reinforcement dots completely kill the responsiveness of the drum, to the point of “choking” the sound. This is not so with Power Dot heads, which respond to even light orchestral-style playing.

I don’t always hit hard enough to reach for these, but I keep some in my arsenal for certain online drum tracks. If I am doing a hard rock thing, I’m gonna beat the drums hard. With the Power-dot reinforced Texture Coated heads, I can confidently do so. Some would use a double-ply head in this situation. That is fine, I just am personally not into double-ply heads.

The Jack DeJohnette signature heads have the best combination of warmth and clarity I have ever experienced. They are actually black in color, and have a dark tone to them. They also manage to be very articulate. I have used them for quite a few online drum tracks.

Lastly, I will address the Super Kick bass drum heads I use. These feature a brilliant internal muffling ring that keeps the sound in control. I often will play with nothing inside my kick drum for a nice open sound. The Super Kick heads take extra ring away without killing the tone. The most I ever use is a towel inside the kick. That is often simply so that a mic can be laid on it inside the bass drum for online drum tracks. The Super Kick allows just enough control of the bass drum overtones, while still leaving it open-sounding.

I hope this article helped explain my basic approach to head selection when recording online drum tracks. In future articles I will address further Aquarian drum head choices I can make.

As a professional online session drummer, I record online drum tracks for different types of projects. Different styles of music may require different drumhead choices, so I like to have a wide array of heads to choose from.

In this two-part article series I will describe some of the various Aquarian products I use for online drum tracks at eDrumSessions. I am not being compensated by Aquarian for this article; however, in the interest of full disclosure I am an endorser of Aquarian products. I use Aquarian drumheads in any situation which I have control to do so, and that would certainly would apply to all eDrumSessions online drum track projects.

In this installment I will cover the following products I use for online drum tracks: Texture Coated, Classic Clear, American Vintage, Modern Vintage, Texture Coated with Power Dot, Jack DeJohnette signature, and Super Kick 1. These are all one-ply models I use for online drum tracks.

Lets start with good ol’ Texture Coated heads. Texture Coated heads are my go-to heads for general playing. The Aquarian coating process has become the industry leader. Chipping almost never happens, and the sound of brush “sweeps” remain nicely even through many recordings of online drum tracks. It is great to have the surface not get too smooth too fast from brush playing.

I also use Classic Clear heads. Using them as bottom heads on toms is a given. If I need more articulation out of my toms, I go to the Classic Clear heads as batter heads as well. I tend to favor the warmth of coated heads in general, but some online drum tracks may call for intricate tom work. One can always tune coated heads tighter to achieve more articulation, but that may not be the best option depending on the style of music. The Classic Clear heads are very useful if I need articulation while keeping the toms tuned low. Again, I try to default to coated heads. “Tribal” tom work, for instance, can lose some of its “weight” with clear heads. This is applicable to all clear heads from any manufacturer, not just Aquarian.

The last online drum track I used Classic Clear heads on was a song for a client from Azerbaijan. The song was an up-tempo, fusion-esque powerhouse that called for a lot of articulate tom work, as well as some soloing on my part. I went for the Classic Clears to get that articulation. Some warmth was sacrificed, but for that particular piece of music it was a wise choice. I have also gotten good results using them on my Ludwigs for a Bonham-esque sound for some of my online drum tracks clients.

American Vintage heads, slightly larger in diameter to fit vintage drums, have a special coating that is different than the Texture Coated heads. The coating is more textured, which means louder brush sweeps. This is not necessarily a concern for online drum tracks, but it is helpful live.

The coating on the American Vintage model is warmer than Texture Coated heads. Of course some of the attack is minimized, unless they are tuned really tightly. They sound great that way for straight-ahead jazz music. These heads also sound amazing on my vintage Ludwigs, tuned in any range. They sound beautifully warm and “squishy” when tuned down low, and are a great choice for online drum tracks with few but dramatic tom hits.

Modern Vintage heads have the same properties as American Vintage, but are made to fit modern drums. This is a way to get a vintage sound out of a modern kit. I just use them if I want to warm up my sound for online drum tracks.

In Part 2 of this series, I will discuss my use of Texture Coated with Power Dot heads, Jack DeJohnette Signature heads, and Super Kick 1 heads on online drum tracks.

Here, session drummer Shay Godwin rocks out live with Grammy-nominated Florence and the Machine, with singer LP sitting in. In this performance of the song “Dog Days Are Over”, LP starts off and Florence Welsh comes up about 1:30 into the video.

It is good for a session drummer to get out and play live gigs once in a while. Most people are aware that the skills required to be a great session drummer can be somewhat different that those of a live drummer. However, if a session drummer records constantly in the studio without getting out to play live it can lead to overly-clean and polite playing. Something about live drumming can keep a session drummer playing with a high-energy, live vibe when in the studio, while maintaining the cleanliness of execution expected of a session drummer.

The author, Robin Frederick, released her new book in the wake of her previous bestseller, “Shorcuts to Hit Songwriting: 126 Proven Techniques”.  Frederick has established herself as a top-shelf songwriting tutor.

Frederick mentions eDrumSessions in a section discussing online session drummers.  Here is an excerpt:

“It takes multiple mics, cables, inputs, and a room with good acoustics to handle a full drum kit.  It also requires a great kit, an excellent drummer, and the know-how involved in mic placement and recording.  Consider hiring one of the excellent session drummers who offer to record to your track in their own studio.”

To read more, go check out **page 209** of  “Shortcuts To Songwriting For Film & TV.  You can click on the book cover icon and either scroll to page 209 or type “eDrumSessions” in the search field.

the market, and eDrumSessions drum tracks shine with the help of Daking.

Adding the live drum tracks has expanded the sound of The Echoing Green from synth-pop to power-pop.  The band maintains their core sound and indentity.  Belville and co. have a loyal fan base, and the fans certainly must be enjoying this long-awaited offering from The Echoing Green.  Added guitars, thicker arrangements, and drum tracks broaden the group’s sound and will win new fans. 

Belville was able to have eDrumSessions record custom drum tracks for “In Scarlet And Vile” from Los Angeles while remaining physically at home in Albuquerque, NM.  The eDrumSessions online drum track process allowed Belville to maintain his duties as a family man while having the professionals take care of providing the best drum tracks available.

<a href=”http://www.side-line.com/reviews_comments.php?id=46418_0_17_0_C”>Read more here</a>, enjoy.