For me, it all started in the attic of my parents’ house. My dad had a big white Remo drum kit which I discovered at the age of three. He gave me a pair of drumsticks and taught me to play the acoustic version of ‘Layla’ (Eric Clapton) and ‘Another 45 Miles To Go’ (Golden Earring). From that moment I knew this was what I wanted to do. From then I grew up with the music of Golden Earring, Eric Clapton, Phil Collins, Paul McCartney, John Lennon, Bryan Adams and later bands such as Nickelback and Alterbridge.
At the age of four I started my first drumming lessons. After 18 months of lessons and having Cesar Zuiderwijk (Golden Earring) as my drum hero, my parents gave me the opportunity to have drum lessons at Cesar’s music school. I learned a lot from Cesar himself, and without him I would never have laid down such strong foundations as a drummer at this young age.
Alongside Cesar, I also learned a lot from the three great teachers I had at his music school. At the age of fourteen I decided to move on by myself and took a few lessons from different drummers. My goal? To find out who I was as drummer and create my own style. After a few years of practising I started playing in bands at the age of seventeen.
From then on I played in cover bands, my band THE RED17, with Jasper Mook, did studio sessions and became the drummer and producer for up-and-coming American guitar hero Eric Steckel.
Besides playing drums, I tend to hear instruments and music in a certain way. This led me to feel I also wanted to be a producer. I wanted to project how I hear music into a physical product and share it directly with the world without having to depend on others.
My vision as a producer is to make pure recordings with a human touch and a modern sound. What I mean by this is that in the past musicians had one, or if they were lucky, two or three chances to play really well on a record. Otherwise, the quality of the tape would decline. This is one of the reasons why music from back in the day is so pure, so good and so moving!
Nowadays we have the luxury of using Command +Z if the recording isn’t good. Which gives us the opportunity to do it over and over again till every hit or every note is spot on. But I believe this way of working leads musicians to lose the human touch and purity in their songs. They can also become lazy and no longer know how to play when they are in the ‘heat of the moment’,which is when you do things that make the music really special. And when the recordings are finished, many artists prefer to make their sounds in the mix or use samples. At this point you’re not being true to yourself. You lose the purity and everything that makes you unique as an artist is gone.
It’s all about how to expand the characteristics of the artist, how to use your ears, know the gear, how to tune and how to record. But the most important part is how to play. I prefer not to use samples or master the album really loud or ‘fix something in the mix’. I want to move people when they’re listening to my playing or productions. So I like to keep the dynamics and human timing elements.
RECORDING / MIXING
I see recording and mixing as one process. As I said in my Vision section, it’s about how the musician plays and the engineer records the song. Playing in a balanced way and making the most of your instrument will affect how the final product sounds. My job as recording/mixing engineer is to let it sound like the final product and capture the story to the very best of my ability. After the recording, I then enhance the energy of the song and give everything its place during mixing.
ONLINE DRUM RECORDING SERVICE
Because of my experiences as drummer and producer, I came up with the idea to start up this service. With this service I can help any artist around the world to get some great drum sounds for their music. My goal is to achieve almost every drum sound with acoustic drums to stay pure, genuine and keep all the emotion in your music. How does it work?: Send me the (guide)tracks of your song(s) I’ll play and record the drums for you You’ll receive the recorded drums
Gretsch Renown Walnut (Special Edition)
- 10’’,12’’,14’’,16’’,18’’ toms
- 22×18’’ & 24×16‘’ Kick drums
- 16’’ AAX X-plosion Hats
- 18’’ HHX X-treme Crash
- 21’’ HHX Groove Ride (custom)
- 18’ HHX Legacy Crash
- 16’’ XSR Fast Stax
- 10’’ Aero Splash
- 12’’ Holy-China
- 18’’ B8X Ballistic Crash
- 10’’ HH-China + 10’’ HHX Evolution splash (Stacked)
- Holding On Eric Steckel 0:30
- Juke Joint Eric Steckel 0:30
- El Camino (Instrumental) Eric Steckel 0:30
- Fugitive Eric Steckel 0:30
- My Darkest Hour Eric Steckel 0:30
- Speed Of Light Eric Steckel 0:30
- Texas 1983 Eric Steckel 0:30
- Outta My Mind Eric Steckel 0:30
- What it Means (To Be Alone) Eric Steckel 0:30
- Rocket Fuel (Instrumental) Eric Steckel 0:30
- If I Ain't Got You Eric Steckel 0:30
- A Call Out THE RED17 0:30
- Shine (for a lifetime) THE RED17 0:30
- Breathe THE RED17 0:30
- Move On THE RED17 0:30
- Breakdown THE RED17 0:30
- I Am Alive (Anthem EC Lacross) THE RED17 0:30
- Break Up Heavy Hearts (Jay v. Leeuwen) 0:30
- Crazy Heavy Hearts (Jay v. Leeuwen) 0:30
- New World Heavy Hearts (Jay v. Leeuwen) 0:30
- We Are, We Are Heavy Hearts (Jay v. Leeuwen) 0:30
- All The Things Bottles Of Love 0:30
- Because of You Bottles Of Love 0:30
- Keep Your Head Up Bottles Of Love 0:30
- One To Sing Bottles Of Love 0:30
BANDS / ARTISTS
- Hurricane Joy – Drums (live)
- THE RED17 – Drums (live & studio), Songwriting, Co-produced
- Japer Mook – Drums (live & studio)
- Bottles Of Love – Drums (studio)
- Daredevils – Drums (live)
- Eric Steckel – Drums (live & studio), Songwriting, Produced(recorded,mixed), Co-mastered
- Johnny Utah – Drums (live), Recorded
- Jay van Leeuwen (Heavy Hearts) – Drums (studio)
- Robin van Loenen – Drums (studio)
- Riemer van der Bij – Drums (studio), Songwriting, Produced(recorded,mixed)
- David Stolk – Drums (studio)
- Lotte van Amerongen – (Mixed)
- Instrumental Sessions – Drums (studio), Songwriting, Produced(recorded,mixed)