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Steve Albini’s imprint on the sound of rock is undeniable. Having worked on seminal albums by the Pixies, PJ Harveyand, perhaps most notably, Nirvana’s milestone record “In Utero,” his sonic DNA is in the fabric of productions that have helped create a new branch in rock history. This collection of drums captures the incomparable sonic fingerprint of not only Steve Albini but also the ambience of his very own studio, which he personally built and designed. Welcome to Electrical Audio in Chicago, IL, and a truly unique collection of drums.
The Alt-Rock EZX presents a crude, genuine and raw palette of drum sounds with an incredible range, perfect for the soft-loud-soft approach that is synonymous with the distinct dynamics of the classic alt-rock sound. Capturing Steve’s unique method of mic placement, attention to detail and drum tuning scrutiny, this EZX gives you two full kits and cymbal setups as well as several additional instruments and percussion pieces, all crafted to perfection.
Even though this EZX takes off in the tremors of the nineties alt-rock scene, it presents a tonal palette with enough color to aid you in painting whatever sonic landscape you wish.
FEATURE SPOTLIGHT
Recorded by Steve Albini at Electrical Audio
Two (2) full kits and cymbal setups (Ludwig Club Date & DW Collector’s Series)
Five (5) additional snares, two (2) kicks and five (5) cymbals
Five (5) percussion instruments, including 26” and 29” Ludwig timpani drums
Comes with a selection of MIDI drum grooves inspired by alt-rock music
THE DRUMS.
Steve Albini’s own words on the selection of drums recorded during the Alt-Rock EZX session.
LUDWIG CLUB DATE.
This is a ’60s Ludwig kit with thin shells, sized 20″, 12″ and 14”. The Club Date design uses a single central lug on each shell that accepts a tension rod from each head rather than two separate lugs, so the shells have less weight and fewer mechanical attachments. Though it was designed to lower the parts count and cost, this feature makes the drums slightly more resonant and lively than shells made with separate lugs. We kept it skinned with Remo Rennaissance heads, which have an elastic bounce with fewer high overtones than other single ply heads, while still having a strong fundamental pitch and clear sustain. The toms are tuned with the bottom head slightly higher in pitch than the top heads, which causes a slight rise in the pitch as the drums sustain. The additional drums added to fill out the compliment of toms are other Ludwig toms from the same era, tuned similarly. The bass drum features a full front (resonant) head, which provides a singing sustain with extended decay. The snare drum is a WFL 3×13” piccolo with a calfskin batter head. This drum has a short, dry and percussive midrange-voiced sound that is most expressive at the lower end of the dynamic range.
DW COLLECTOR’S SERIES.
This is a thoroughly contemporary kit made with modern materials and processes, so the tolerances and behavior of the drums are both predictable and consistent. The kit has large sizes (24″, 15″, 16″ and 18”) and Remo Emperor batter heads to control the irregular high-harmonic modes of the larger heads (and Remo Ambassador heads for the resonant side). These drums are characterized by a strong attack and fundamental tone with few overtones and a smooth fast decay. These drums are tuned with the resonant head slightly lower in pitch than the batter head, which causes a slight drop in pitch as the drum sound decays. The bass drum has a Superkick II head for strong attack with quick decay and the resonant head has a hole in it. The the decay is fast and suitable for quick patterns, despite its size. The DW 5×14” snare drum is the same shell construction as the rest of the kit and has a Remo CS batter head and a Diplomat-weight snare bottom head with a 2″ strainer. It has a modest amount of shell tone and a quick decay.
EXTRA KICK AND TOMS.
The extra kick and toms are ’70s Gretsch but updated with cast hoops and minimally-invasive mounting hardware. They all have Remo Ambassador batter heads and Evans resonant heads. The shells are slightly thicker with a plain lacquer finish, so the natural pitches of the drums are slightly lower than the same sized drums on our other kits and resonances are not damped by an external wrap. These drums have the batter heads and resonant heads tuned to nearly the same pitch, so each drum has a long, consonant sustain and a definite pitch. The bass drum has Remo Ambassador heads and is lightly damped.
“THIS EXPERIENCE IS DEFINITELY ONE OF THE TOP MOMENTS, ESPECIALLY BECAUSE OF HOW PERSONAL THIS PROJECT WAS TO ME…”
PAUL SZLACHTA ON THE ALT-ROCK EZX SESSIONS
INSTRUMENT LIST
KICK | 14×20” Ludwig Club Date Silver Sparkle |
SNARE | 3×13” WFL/Ludwig Jazz Combo Duco finish |
RACKTOM 1 | 8×12” Ludwig Club Date Silver Sparkle |
RACKTOM 2 | 9×10” Gretsch USA Custom Natural Maple |
FLOOR TOM 1 | 14×14” Ludwig Club Date Silver Sparkle |
FLOOR TOM 2 | 16×16” Ludwig Hollywood Mod Orange finish |
HI-HAT | 13” Meinl Byzance Traditional Medium |
CYMBAL 1 | 18” Meinl Byzance Traditional Medium Thin |
CYMBAL 2 | 19” Meinl Byzance Traditional Medium Thin |
CYMBAL 3 | 17” Meinl Byzance Traditional Medium Thin |
RIDE | 20” Meinl Byzance Traditional Medium |
COWBELL | 6” Cosmic Percussion by LP cowbell |
KICK | 18×24” DW Collector’s Maple Black Oyster Pearl |
SNARE | 5×14” Ludwig Universal 1920s Nickel Over Brass |
RACKTOM 1 | 12×14” Gretsch USA Custom Natural Maple |
RACKTOM 2 | 14×15” DW Collector’s Maple Black Oyster Pearl |
FLOOR TOM 1 | 16×16” DW Collector’s Maple Black Oyster Pearl |
FLOOR TOM 2 | 16×18” DW Collector’s Maple Black Oyster Pearl |
HI-HAT | 15” Paiste Giant Beat |
CYMBAL 1 | 18” Paiste Giant Beat |
CYMBAL 2 | 20” Paiste Giant Beat |
CYMBAL 3 | 10” Meinl Byzance Traditional Splash |
RIDE | 24” Paiste Giant Beat |
SLOT 1 | 29” Ludwig Universal timpani (low) 28” Slingerland Radio King bass drum (calfskin) |
SLOT 2 | 26” Ludwig Universal timpani (high) 28” Slingerland Radio King bass drum (calfskin) |
COWBELL | 6” Cosmic Percussion by LP cowbell 15” Paiste Giant Beat hi-hat bottom (hand-held) “cowbell” |
SNARE DRUMS | 5×14” Ludwig Universal 1920s Nickel Over Brass 6×14” DW Collector’s Maple Black Oyster Pearl 5×14” Ludwig Acrolite 1960s 5×14” Tama Starclassic Maple Red finish 3×13” Bison Piccolo Black Stain finish |
EXTRA KICKS | 16×22” Gretsch USA Custom Natural Maple 14×20” Ludwig Club Date Silver Sparkle (fluffy beater) |
CRASH CYMBALS | 18” Bosphorus Prototype Crash 20” Bosphorus Prototype Crash Ride |
RIDE CYMBALS | 20” Paiste Sound Creation Dark Ride |
CHINA | 16” Istanbul Agop Signature China |
STACKED RIDE | 20” Paiste Sound Creation Dark Ride over cracked 20” Zildjian K Custom Dark Ride |
MICROPHONES & SIGNAL CHAINS
KIT 1 – LUDWIG CLUB DATE
All mic preamps Neotek Elite unless noted
Bass drum batter head: | Crown GLM 100 |
Bass drum resonant head: | Beyer M380 –> Bob Alach modified Urei 1176 4+8 slow attack, medium release (NB: 1176 used as mic preamp) |
Snare drum top: | Altec 175 –> NTI equalizer |
Snare drum bottom: | Shure SM98 |
10″ tom top: | AKG451 + CK1 |
10″ tom bottom: | AKG451 + CK1 |
12″ tom top: | AKG451 + CK1 |
12″ tom bottom: | AKG451 + CK1 |
14″ tom bottom: | AKG C414 |
14″ tom bottom: | AKG C414 |
16″ tom bottom: | AKG C414 |
16″ tom bottom: | AKG C414 |
Overhead L: | STC 4038 300 Ohm –> HPF @375 Hz – Manley ELOP limiter, 200Hz HPF on detector, maximum 6 dB deflection – GML 8200 EQ +4 dB shelf @7.5kHz +5 broadest bell @26 kHz |
Overhead R: | STC 4038 300 Ohm –> HPF @375 Hz – Manley ELOP limiter, 200Hz HPF on detector, maximum 6 dB deflection – GML 8200 EQ +4 dB shelf @7.5kHz +5 broadest bell @26 kHz |
Blumlein stereo front-of-kit L&R: | SM2 |
Ambient boundary L: | Neumann Geffel CMV563 + N55k –> John Hardy M2 mic preamp –> Eventide EA delay +22 ms |
Ambient boundary R: | Neumann Geffel CMV563 + N55k –> John Hardy M2 mic preamp –> Eventide EA delay +20 ms |
Hi-hat: | Beyer M160 –> HPF @325 Hz |
Distant ambience: | STC 4038 30 Ohm |
Bass drum sub: | Bandpass of CH2, resonant head @45 Hz |
KIT 2 – DW COLLECTOR’S SERIES
All mic preamps Neotek Elite unless noted
Bass drum batter head: | Crown GLM 100 –> insert Drawmer DS201 ducking -6 dB keyed to snare hits |
Bass drum resonant head/internal: | Beyer M380 –> Bob Alach modified Urei 1176 4+8 slow attack, medium release (NB: 1176 used as mic preamp) |
Snare drum top: | Altec 175 –> NTI equalizer, +4@3.5 kHz +1@10 kHz +2@40 Hz |
Snare drum bottom: | Shure SM98 |
14″ tom top: | Josephson e22S |
14″ tom bottom: | Josephson e22S |
15″ tom top: | Josephson e22S |
15″ tom bottom: | Josephson e22S |
16″ tom bottom: | Josephson e22S |
16″ tom bottom: | Josephson e22S |
18″ tom bottom: | Josephson e22S |
18″ tom bottom: | Josephson e22S |
Overhead L: | STC 4038 300 Ohm HPF @375 Hz – Manley ELOP limiter, 200 Hz HPF on detector, maximum 6 dB deflection –> GML 8200 EQ +4 dB shelf @7.5 kHz +5 broadest bell @26 kHz |
Overhead R: | STC 4038 300 Ohm –> HPF @375 Hz – Manley ELOP limiter, 200 Hz HPF on detector, maximum 6 dB deflection –> GML 8200 EQ +4 dB shelf @7.5 kHz +5 broadest bell @26 kHz |
Blumlein stereo front-of-kit L&R: | Neumann SM2 |
Ambient boundary L: | Neumann Geffel CMV563 + N55k –> John Hardy M2 mic preamp –> Eventide EA delay +22 ms |
Ambient boundary R: | Neumann Geffel CMV563 + N55k –> John Hardy M2 mic preamp –> Eventide EA delay +20 ms |
Hi-hat: | Beyer M160 –> HPF @250 Hz |
Distant ambience: | STC 4038 30 Ohm |
Bass drum sub: | Bandpass of CH2, resonant head @42 Hz |
Variant | 1 |