"All the techniques we used to record the drums in 'Chocolate' were new. Part of 'changing the air' for Spink and I is to put up some 'wild-card mics'. You want character, especially in the modern world with everybody working in Pro Tools and with often the same plug-ins. For example, the 'sizzler' mic chain on the vocals was inspired by a wild-card microphone that we had on the kit, which was a [Neumann] KM84 boosted super-bright in an Avalon 737 and then going into a Thermionic Phoenix compressor with quite a long attack and a short release, which highlighted the stick sound of the snare drum. It was hit hard to tape, bringing out some nice harmonic richness and character. I had the 84 quite high in the mix, because it acted like an exciter, giving a really nice bloom on the kit and adding nice musical top-end detail. Regarding the other drum microphones, on the inside of the kick we had a Shure Beta 52, going into an API mic pre, and outside of the kick we had a RCA R44 ribbon quite close to the floor to get a really extreme sub sound, which went to an AEA TRP ribbon mic pre. The snare top mic was a Josephson E22, which is a fantastic drum spot microphone that always delivers natural and firm-sounding results. I had two of those on the toms as well. The snare top mic went into a Neve 1073 and then a Thermionic Culture Freebird valve EQ to sweeten the top end a little. Underneath the snare we had a Beyer M201 going into another API mic pre, and on the snare side we had a Shure Beta 57, but I don't think we used that.
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