High-Quality MIDI Drum Tracks

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I played the drums on a cover of Jethro Tull's "The Whistler" by Celtic World Orchestra. I was so happy with how it came out, and as a self-confessed song drummer, it was fun to cut loose and get the BIG drums out. It was also a pleasure sharing credit with some real top-flight players on there. It was one of those tracks that gave me goosebumps during tracking. That's a rarity. https://www.youtube.com/watch?v=gE8YjQG82bA

Q: What are you working on at the moment?

A: I'm halfway through working on an album of Philly Soul covers and having a blast. All the tunes I grew up on, and I'm surrounded by great musicians, which makes my job so much easier. This is one of those projects that doesn't feel like work.

Q: What do you like most about your job?

A: I get to work on all different types of music with folks from all over the world. I love that aspect of it. Things never get boring, and I don't have to deal with band politics.

Q: What questions do customers most commonly ask you? What's your answer?

A: "Can you put a fill there?" and the answer is always yes. If I feel it's not needed I'll voice that and give my reasons but at the end of the day, I'm being paid to do a job and provide a track that the client is going to be happy with.

Q: What's the biggest misconception about what you do?

A: That MIDI drums can sound machine-like. In the wrong hands, they can, but I've worked with this medium for years now and I know how to get the very best out of it.

Q: What questions do you ask prospective clients?

A: Apart from technical questions such as BPM, sample rate etc., I would ask them what kind of mood they wanted to come out of the track. Also, I would ask if they have any reference files, whether an already available demo drum track or a track by an existing artist that they'd want to capture the feel of.

Q: What was your career path? How long have you been doing this?

A: I started playing in 1986 and spent the following few years gigging around the South London pub and working men's club scene. I turned pro in 93 and spent the rest of the decade doing the cruise/seasonal thing. I moved to the States in 2000 and spent the first ten years playing with local singer/songwriters and bands in Philly and playing such venues as World Cafe Live/North Star Bar/Grape Street, amongst others. A wrist break in 2012 slowed things down for a while, as well as the arrival of my son, and in 2020 I decided to pursue my dream of recording from home.

Q: How would you describe your style?

A: I am a song drummer, so I focus on feel and simplicity.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I have done some work for producer Stephen Paul on other platforms and Freddie Banks has been very supportive. He's killing it on here!

Q: Analog or digital and why?

A: I have to say digital seeing as that's my thing!

Q: What's your 'promise' to your clients?

A: That I care as much about the end product as they do.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Just a kick drum so I could use it as a boat to get off the island! In all seriousness, I can't do what I do to the level I do it without Superior Drummer 3. There's not a drum VST out there that gets close.

Q: Which artist would you like to work with and why?

A: Steven Wilson. He wears his love of Pop on his sleeve, as do I.

Q: Can you share one music production tip?

A: Step away from something if you're getting frustrated and in the remote recording world also communicate clearly and honestly - you need a thick skin in this business and be able to take criticism and instruction in your stride.

Q: What type of music do you usually work on?

A: My roots are in Rock and Pop, so it leans more towards that, but I'm always up for a challenge and love it when something comes through the door out of my comfort zone.

Q: What's your strongest skill?

A: My ears. I know what works and what doesn't, and I can usually get that pin-pointed pretty fast.

Q: What do you bring to a song?

A: Space. There's nothing worse than a song being choked by an overly-busy drum part. I'm a self-confessed song drummer, leaving the chops in the rehearsal room.

Q: What's your typical work process?

A: Once I've received the files and instructions from the artist/producer, I'll listen, make a basic chart, and then record a take. I then send this over as a stereo stem to see if we're in the ballpark. If they're happy, I'll do a few more takes... usually one simpler and one a bit looser to give the artists options, and we'll refine it from there.

Q: Tell us about your studio setup.

A: It's simple but effective. I have an upgraded Roland V-drum kit (with the digital snare, ride and hats) and a UAD Apollo interface, all going into a Mac. I've switched to Studio One but can access Pro Tools, Logic, Reaper and Luna. I rarely get to mix as most clients prefer their files to be sent dry, but I have a curated collection of plug-ins just in case. I tend to leave that to the experts. The Apollo may seem overkill, but as I track live, I aim to get the latency down as much as possible between the DAW and the kit, so I need the fastest connection, and Thunderbolt is the way to go.

Q: What other musicians or music production professionals inspire you?

A: Every drummer has a top five list and if they say they don't they're not telling the truth! Not in any order -- Phil Collins, Jeff Porcaro, Mark Brzezicki, Simon Phillips and Manu Katché. I'm inspired by pretty much anyone out there doing this whether they're an artist, producer or whatever.

Q: Describe the most common type of work you do for your clients.

A: Mostly providing original MIDI drum parts. Sometimes, I’m asked to program a track or fix up an existing part, but that’s rare. I’m finding more and more folks working directly with Superior Drummer 3, so I’m sending the basic project file out and letting them do their thing with it.