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drums from “thriller” by michael jackson | ToneDB

thriller

michael jackson

drums

88% ai confidence

Tone Profile

Punchy, tight, and incredibly clear 80s drum sound with a distinct, impactful snare and a solid kick foundation, all set within a spacious yet controlled ambience.

Signal Chain

Instrument: Kick Drum (e.g., Ludwig Classic Maple 22" or 24")

Microphone: Neumann U 47 FET (primary), possibly blended with Sennheiser MD 421 or AKG D12

Processing: Harrison 32C Console Preamp/EQ (e.g., gentle low boost 60-80Hz, low-mid cut if muddy, slight top for click), Minimal Urei 1176 compression (if any, very light, slow attack, fast release)

Other: Recorded on a custom 8x8 foot plywood drum riser. Drum carefully tuned and dampened (e.g., with a pillow). Part of Bruce Swedien's 'Acusonic Recording Process' - recorded to its own dedicated tracks on a synced 24-track tape machine for maximum separation.

Recording Notes

  • Recorded by Bruce Swedien at Westlake Audio Studio A, Los Angeles.
  • Drums performed by Leon 'Ndugu' Chancler.
  • The primary mixing console was a Harrison 32C.
  • Bruce Swedien's 'Acusonic Recording Process' involved recording key drum elements (kick, snare, hi-hat) to their own stereo pairs on separate, synced Studer A800 24-track tape machines. This provided exceptional separation and clarity.
  • Drums were set up on a custom-built 8x8 foot plywood platform, 10 inches high, to enhance resonance and low-end response.
  • Swedien favored minimal EQ and compression during tracking, focusing on mic selection, placement, and the quality of the source sound.
  • The iconic snare sound prominently features gated reverb, likely achieved using an EMT 250 digital reverb unit fed into a Kepex noise gate, or potentially an AMS RMX16 unit's 'Non-Lin' preset.
  • Multiple takes and layers were common to build the final drum track, ensuring rhythmic precision and sonic impact.

Recreation Tips

  • Start with well-tuned drums. Consider Remo Pinstripes or Evans Hydraulic heads for a focused, punchy tom and kick sound. A coated Remo Ambassador or Evans G1 is classic for the snare.
  • Use close miking on all individual drum elements for maximum separation and control.
  • Emulate the Harrison 32C EQ character – known for its musicality. Plugins are available.
  • For the kick, aim for punch and depth. A dynamic mic inside (e.g., Audix D6, AKG D112) combined with a FET condenser outside (e.g., U47 FET clone) can yield great results. Slight boost at 60-80Hz and 3-5kHz.
  • The snare is crucial: SM57 on top. The gated reverb is key – use a high-quality digital reverb plugin (EMT 250 or AMS RMX16 emulations are ideal) with a short decay (0.2-0.4s) followed by a fast-acting gate to abruptly cut the tail.
  • Use dynamic mics like Sennheiser MD 421s or e604s on toms. Gate them for tightness, and EQ for punch and attack.
  • Capture crisp hi-hats with a small-diaphragm condenser (e.g., KM184, C451). Use a high-pass filter.
  • Employ stereo overheads (e.g., spaced U87s or similar LDCs) for cymbals and overall kit image. Consider adding stereo room mics further back to capture natural ambience, then compress and blend them in.
  • Avoid over-compressing the main drum bus. The clarity comes from individual track treatment and the Acusonic-style separation.
  • Experiment with tape emulation plugins (e.g., UAD Studer A800) on individual tracks or the drum bus to add subtle saturation and warmth.

Sources