Actually, I was thinking of the work you did on Safe For Now, I love EVERY tone on that album, especially the drums. I actually really dislike triggered drums, I just thought that at some moments in the songs the snare and bass sounded a little flat. And maybe the sounds will grow on me (they have already a bit) but I hear a lot of crash from the cymbals and it just feels overwhelming at points. Again, no offense meant, this is just what I hear. Sometimes I think I'm overly critical. I still love the album, and I really respect the work you've done, you're pretty prolific.
I appreciate that. We originally planned to record drums separate from cymbals for weird tones but in Pre pro I had 1 super compressed and distorted room mic, 2 overheads and the snare, kick, and tom close mics. The dudes REALLY liked the sound (especially the cymbals which were our main focus) so we stuck with it. I think the cymbals are insanely detailed, but the distorted room mic is the main sound and the loudest mic in the mix. Kerry kills on drums. He for sure smashes and plays louder than any drummer I've ever recorded. His dynamics are astounding. I can hear what drum he's hitting and what cymbal. Doesn't sound like white noise. But he definately smashes crashes and replaces them all the time.
That's probably the major difference you hear when compared to The American Scene who plays really soft and has a lot of percussion and not a lot of cymbal action going on, and if any it is specifically played soft to allow the drums to sound huge. Also, the drum tones are the same mics and signal chain as The American Scene. Same for Basement. The only difference is drums, cymbals, drummer, and content.