Premier: Gold sparkle vintage kit (as pictured): 22", 12", 16" Premier Series Elite in custom Union Jack finish: 14"x9" tom; 18"x16" floor tom; 24"x14" Gen-X bass drum; 14"x6 1/2" maple snare; 14"x6 1/2" Hammered Brass Modern Classic snare
Is there anything new you used in terms of gear for this album?
“In terms of kit we rented quite a lot of stuff. We always get asked why we record in LA. You can get any snare drum pretty much and you can get every amp - or if it’s broken, someone can fix it that day. There’s a lot of stuff for bands, or for anyone in entertainment - that’s what that place is for.
“So we hired a lot of stuff from Drum Doctor, he’s got a warehouse with everything in it, and he came and tuned my kit and made it sound probably the best it’s sounded. And he had a few snares. I use an old Black Beauty snare, but he had an older one that was a lot better, so it was putting all my stuff to shame.
“I like to use my own stuff as much as I can but I’m also not precious over it when it comes to the studio - it’s important to be a bit more open minded about it. And I suppose, going back to technique, it affected that as well because I was using more fragile drums and I couldn’t wack them like I could if I was on stage.
“I suppose it took me a while to get used to the idea that anybody can hit something hard. I used to think that was the coolest thing that I hit my drums as hard as I could, and I think that is a thing live - it looks good, or you just get into it and get carried away. But it doesn’t necessarily sound the best, it’s not the most impressive thing about drumming, and I probably thought it was for a while.
“So we had old marching snares and stuff that I couldn’t hit really hard. He said, ‘This is from the 1920s, please don’t play it like you normally would!’ Various different bigger bass drums, smaller bass drums. It was probably the most time we spent going through different tunings or changing the snare for each song, trying something different.”