It’s just dry walls with no acoustic treatment. A typical Garbage track will have live drums that I record in my lo-fi home setup. With Garbage, we tend to throw a lot of paint against the wall to see what sticks. It’s often determined by how the drummer plays. When producing another band, determining what the drums should sound like is a big part of understanding their vision. To my ears, a song is defined by the sound of where the drums are, because it gives the listener the sense of the space that the rest of the song lives in. You should aim to create whatever sonic environment you want, and drums are an important part of that. Obviously, that’s not possible, but recording doesn’t have to be about purism. In the 80s, drums started to sound really weird to me, because the kick would be loud and clicky, like it was a foot away from your head, but the snare would sound like a canon-shot going off in an arena. Can you talk to me about your approach to recording drums and what things you consider when working with acoustic versus sampled drums? Your drum sound is something many audio people talk about.
I was able to have a chat with him recently about it, among other things. His latest work, however, is not an album release, but a vocals plugin with Waves Audio.
In addition to being a member of his own multi-platinum band, Garbage, Butch Vig has brought his production abilities to enough acclaimed albums by the likes of Nirvana, The Smashing Pumpkins, and Foo Fighters, to be firmly cemented in music history.
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