Returning to good old habits, this time we've turned our attention to a well-known and well-respected studio and live musician who backs many of the best-selling stars as well as a range of industry professionals.
We've seen him handle himself in all kinds of settings: complex jazz, pop and rock repertoires, learning dozens of songs almost instantly, as if photographically. A great professional who has made his name a trusted reference for live drumming and drum recording.
Beyond the flawless execution of Toni Mateos, the professionalism he shows by avoiding needless showboating, and his commitment to the project at hand, what caught our attention was his innovative spirit.
Although “they do exist,” there aren't many musicians with enough drive to promote themselves with genuine public relations skills. The kind of charisma that makes their work and business (understood as a professional project) easier. Knowing how to network and having an entrepreneurial spirit are two important assets when it comes to building a solid professional portfolio in this very tough business.
We're worn out from seeing musicians on YouTube® or Facebook® “re-re-performing” the 800th version of Hotel California from their living room. There's also no shortage of outlandish (almost “trambolic”) projects with little chance of success, lacking any business vision beyond rounds of beer with buddies. So when we noticed Toni's sense of humor on social media and the reach of his fantastic ideas for adding value to the industry, a new interest joined the respect we already had for this powerful player.
It seems the last five years haven't been very generous to the instrument market, artists and, dare we say, performing arts professionals. Perhaps, among other things, because of that lack of professionalism, ideas and innovative character.
Fed up with samples and straining your eyes in MIDI editors to get realistic drums? Well, even though the audio/MIDI world, libraries and computers are and will remain a good ally, what better way to harness that power and the Internet to get the punch and know-how of a real musician on your tracks? Some of the answers can be found at tonimateos.com and its appealing remote drum recording offering
We cornered this rhythm maker to learn more about him. Let's see if we can learn something and help others figure out what separates successful know-how from talent that fades away in the shadows.
Welcome.
How did the idea for your studio come about?
The studio was born in 2014, after an in-depth analysis of the current state of the music industry. Record sales have fallen dramatically, and budgets have dropped to unsustainable levels. There's no money to record albums, because nobody buys them. Even so, artists still have a lot to say through their music, and the public still consumes it, just through other channels.
Not a very optimistic outlook… But full of opportunities! I realized we had to reinvent the way music is recorded and adapt the concept of the “recording studio” to the new situation. It had to be a fast, top-quality service, but above all much more affordable than what we were used to.
How has it evolved?
I'm completely self-taught, so I started very gradually, with very basic gear. Let's go back to 2002: I was set up in an old cow barn that a good friend let me use as a rehearsal space. That's where I started getting familiar with Pro Tools, recording myself with just two Behringer microphones connected to a two-channel mixer and feeding the signal into my laptop with a mini-jack cable. It was only good for my “practice sessions.”
In 2013 I soundproofed the garage at my house and decided to offer my services to friends and acquaintances. I bought four API preamps, a MOTU 828 interface, and simple but decent mics: AKG D40s, a Shure SM57 or two…
"Today we work with producers and composers from 20 different countries and we've recorded nearly 400 albums, soundtracks and music for advertising"
And the idea worked! I started getting lots of orders, and that's when I realized there was strong demand for this kind of service. Producers and arrangers, fed up with the limitations of MIDI drums, fortunately embraced the idea enthusiastically.
At that point I decided to take a big step forward. I met with some of the most prestigious sound engineers in the country and made a list of everything I needed. In 2014 I moved into a facility of more than 200 square meters and bought all the gear needed to offer top-level drum recordings. Today we work with producers and composers from 20 different countries and we've recorded nearly 400 albums, soundtracks, music for advertising and more.
From a business standpoint, what are the keys to offering such a special online service that actually works?
It has to have what I call the “Five essential ingredients”: quality, versatility, price, speed and communication. Let me explain: above all, it's important to offer the highest quality available on the market today, with “A+ series” studio gear (Neve, API, Neumann, Coles…).
Versatility is the second key ingredient: we deliver different options of mics, preamps and AD/DA converters, so the producer who receives the tracks can choose the sound they like best.
As for price, we've achieved savings of more than 70%. We have all the gear set up and checked, ready to start recording in under two minutes. We eliminate travel costs, studio rental, middlemen and salaries, since I double as drummer and sound engineer. Our four pricing plans fit all kinds of productions.
"For this online service to work, it has to have what I call the Five essential ingredients: quality, versatility, price, speed and communication"
Speed is also crucial nowadays. As a rule, we deliver recordings within 24/48 hours, which also saves the project a great deal of time.
Last but not least, there's communication with the client. Since it's an online service, it might seem distant and impersonal. Quite the opposite! I love having a close relationship with my clients via video call, email, instant messaging… That way, they explain their preferences and the sound they're after. I like keeping things personal, and the truth is I'm making good friends from all over the world.
How do you manage this work with the artists who request your online drum recording services so you achieve the idea they have in mind?
I talk a lot with all of them before I start recording, most of the time by video call. We send each other music, videos, references… It's an exciting and very useful process, which has given us 100% client satisfaction.
As for gear, we'd love for you to treat us to the studio's arsenal. Both the instruments themselves and the selection the client can choose from, as well as preamps, mics, DAW and interfaces. Can you tell us what you have and why you chose it?
As I explained earlier, my goal has been to offer the client lots of options to choose from, using top-quality equipment. I did a lot of market research and concluded that I should use “the classics”: the whole recording chain (drums - microphone - cable - preamp - interface - DAW) should have enough prestige to be recognized anywhere in the world as “Class A+.” So I've steered clear of clones, replicas and unknown brands.
I have 7 high-end drum kits that let me cover every sound, with different sizes and tunings. I also have about 20 different snares and the support of the cymbal brand Zildjian, for whom I've been an international artist for 10 years.
Let's move on to the mics. For the kick drum I've gone with the following: Shure Beta 52, AKG 112, Audix D6 and Earthworks SR20LS. Four very different colors capable of satisfying every taste. We complement them with the incredible Neumann U47 FET, a unique mic for capturing the “moving air,” and the Solomon LoFreq, which picks up sub-lows very effectively.
On the snare drum we use three different mics. Of course, the ultra-famous Shure SM57 can't be missing. We complement it with an Earthworks DM20 condenser mic, a great discovery, which adds beautiful brightness and great sensitivity for recording ghost notes. Its high rear rejection prevents hi-hat “bleed.” On the snare wires, or snare bottom, I usually use the Sennheiser MD441-U. Its supercardioid polar pattern guarantees a very clean signal, avoiding too much kick pickup.
"I did a lot of market research and concluded that I should use the classics: the whole recording chain (drums - microphone - cable - preamp - interface - DAW) should have enough prestige to be recognized anywhere in the world as Class A+”
For overheads I'm using four stereo pairs with very different characters. The Coles 4038s, placed using the Glyn Johns technique, deliver that classic dark, deep ribbon sound that steers clear of harshness. They're ideal for “vintage” aesthetics. In this position, a pair of large-diaphragm condenser mics is essential. The Neumann U87 Ai fills that role perfectly, capturing an enormous frequency range.
They're joined by a pair of Earthworks SR25s, high-definition condenser mics with a very special brightness.
And finally, two small-diaphragm condenser mics: Neumann KM184s, which add punch and precision in the mix. On the toms I usually use Sennheiser 421-IIs. They're mics with a deep, clean sound and a wide dynamic range. For brighter productions that call for a very modern sound, I use the Earthworks DM20s I already told you about. When I use a very large floor tom (18”) with very powerful lows, I like to record it with a kick mic. The Shure Beta 52 or the Sennheiser e602 II are ideal.
I usually record the hi-hat with a Beyerdynamic M160. It's a hypercardioid ribbon mic. With it I manage to reduce harshness (exaggerated highs) and get a clean sound thanks to its polar pattern, which keeps too much snare from being recorded. For productions that need more brightness or greater sensitivity, such as jazz or bossa nova, I use a Shure SM81.
For room mics I've gone with the AKG XLIIs. Their large diaphragm and different polar patterns make them ideal mics for this job. I usually use them in omnidirectional mode, to capture reflections from the whole room.
Now for the preamps. I went with twelve API 3124 preamps, which give me speed and punch, an aggressive character that's in high demand for drum sound. I complement them with four Neve 4081 preamps, which offer warmth and depth. I also have four D.A.V. Electronics units, very faithful and transparent preamps built in England by Decca Records engineers.
As my interface I'm using the Antelope Orion 32. It has an atomic Word Clock that's unique in the world, and it lets me record up to 32 tracks at 192 kHz/24-bit. We're also about to add the Apogee Symphony 24/24, which will be another of the studio's gems.
The DAW I use is the latest version of Pro Tools. In my view, it's the most complete for recording and editing drums. It also supports remote sessions: while I record in Barcelona, my client can receive the tracks in real time anywhere in the world.
Looking at your career, which project has been your biggest challenge and how did you overcome it?
Without a doubt, recording a film score produced in Hollywood (Los Angeles) by Federico Jusid. It was a large big band recorded across the pond, with mixed meters and a jazz language I'm not very used to. The big challenge was making the quality of my recording measure up to the great Hollywood soundtracks. I put a lot of effort into research and review, asking for advice from some of the best sound engineers I know, such as Didier Richard, Alex Carretero and Jordi Cristau. They all helped me a lot with their input. Federico Jusid loved my recordings, and since then I've been part of his wonderful team. That gave me a huge dose of confidence and was a great learning experience.
A day that marked your musical career
As a session drummer, recording on an Alejandro Sanz album (“+ES+,” 2017) was a turning point in my career. Some of my idols have worked on his previous albums, such as Vinnie Colaiuta, Anthony Jackson, Michael Landau and Rafa Sardina, and I'm very grateful to have been able to work with him.
Have you ever been in a band of your own?
Never. My calling has always been to be a “sideman.” I love accompanying and having my work help the person in front shine, the “frontman.” Every note I play, whether in the studio or live, is at the service of the artist I'm backing, no matter how “famous” or “well-known” they are. I never seek the spotlight for myself.
Day to day, what do you enjoy most about your work?
I love having a personal relationship with my clients, even at a distance. Getting to know them, understanding them, knowing exactly what they want and then making the right decisions, like what kind of mic I'll use or how I'll play the song… so I can please them. For a songwriter or producer, a song is like a child. They entrust you with a very important part of it and you can't let them down. I always get emotional hearing their comments when I deliver the recording.
"For a songwriter or producer, a song is like a child. They entrust you with a very important part of it and you can't let them down"
What would you highlight about your work on La Voz and La Voz Kids? Has it given you any unexpected impressions or experiences?
La Voz is a very intense show musically. In the six seasons I've been working on it, I must have recorded about 3,000 songs in every style. That's tremendous experience as a session drummer. I've learned to be a tiny part of an enormous machine. Small but essential, which comes with a lot of pressure. Dealing with that day after day has been a great learning experience.
An anecdote that made you understand the value of music like never before
At the end of 2013, while I was on an extensive tour with a well-known artist, I was introduced to Carmen. She was a middle-aged woman who had been diagnosed with terminal cancer and given less than two months to live. At the concerts she laughed, danced, shouted and for a few moments forgot about her illness.
One day she told me that music was keeping her alive, and laughing, she said she had no intention of dying until her favorite artist finished the tour. Almost two years later, days after the last concert, Carmen sadly passed away. That's when I realized music has a supernatural power. It can transport you, touch your soul and even give life. Since then, I've been clear about my personal purpose.
What musicians do you listen to in private? Any particular song on repeat?
Without a doubt, “Home,” performed by Michael Bublé and Blake Shelton on a David Foster live album. It's about a musician who is constantly traveling and, despite his professional success, can only think about going home to his family.
Where do you think a musician's work should be heading to stay current nowadays?
I think new technologies have created a different landscape. I believe any professional needs to master several fields. A musician's work today should be multidisciplinary. Very much like the way a commercial brand is handled. That is, it should be unique, add value and be able to communicate that value. Oh, and it can't be overlooked: the more you grow as a person, the better professional you'll be.
Any new projects or goals coming up in your career?
I'm very excited about the response the remote recording service has received. The idea is to reach more than 40 countries around the world, where we've already started contacts that will bear fruit soon. In 2021 we'll have our own booth at NAMM, and meanwhile I'm planning the new version of the website, where you'll be able to book recordings of other instruments, such as bass, guitar or keyboards, thanks to collaborations with many top-tier musicians we're currently in talks with. Here's to a world full of good music!
Thanks to Toni Mateos for sharing his know-how with us.
Interview: Paloma Ollero, Pilar Bello, David Martín; Photos: Oscar García
