Over the course of seven studio albums with Rush, I've been fortunate enough to be limited only by my ability and imagination in exploring and developing my drumming. This can give you a common language to describe what you like or dislike about a particular sound. Sounds are often described as "round," "pointed," "flat," "tubular," "boxy," "bright," et cetera. Learning to "see" the shape of a sound is one very important step in the understanding and communication of recording. It can be frustrating trying to translate what you hear in your head and onstage to what you hear on tape. The modern studio environment, personnel and language can be overwhelming to the uninitiated. I hope I can offer a few useful observations.Īs difficult as it is to please someone else on demand, it may be even more difficult to make the decisions and learn the technique to please yourself. This is very good and valuable, but there are many drummers who will be (or hope to be) making records as part of a more-or-less permanent group, who will want to know how to make the studio work for them, rather than learn how they can work for the studio. Having been a regular reader of MD for the last couple of years, I've noticed most of the studio information has been for the "session" drummer.
Notes on the Making of Moving Pictures by Neil Peart Modern Drummer, December 1982/January 1983/February 1983 as well as the Backstage Club Newsletter, August 1982/May 1983/September 1983 transcribed by Kevin Jowers
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