Posts Tagged: remote sessions

2022 Summary

December 12 cait davies, danny o'callaghan, live, miles horn, remote sessions, studio, trip shivers, vineyard worship

It felt like normality resumed throughout our industry for the most part in 2022; I had a busy year of gigs and recording and was grateful to be able to work on some great music with great people.

Live

Miles Horn had his first full-band headline show in March at The Bedford, playing songs from his Forest Fire EP that I tracked remote drums on at the end of 2020. I helped Miles put together the band for this, and got two good pals involved who both smashed it (Harry Phillips on guitar and Sam Weston on bass). The gig went really well, and it was great to see our work rehearsing and arranging Miles’ tunes come to fruition. Charlie Thornton took some lovely photos on the night:

In April I had the privilege of being part of the VLG, Vineyard UK‘s national conference held at Trent Vineyard in Nottingham. This was a really fun week playing with old and new friends from across the Vineyard movement in the UK and Ireland, with plenty of coffee and hangs along the way. I also finally got to play ‘Prayer Of Consecration’ live with Olu Meduoye after both working on it remotely last year, which sounded like this:

Studio

I had a few sessions at my usual haunt The Bookhouse this year, including tracking an EP for singer-songwriter Cait Davies in August. Tom Hill was engineering and Harry Phillips was producing and playing on this one – I’ve worked with these guys tons over the past few years and it’s always a blast, they’re both super creative and talented and we’ve become a great team. Cait’s songs are killer, and allowed for some fun tone-hunting and experimentation to find the perfect parts.

This year also finally saw the release of the Trip Shivers EP, which I worked on with Chaz Bush as well as Harry and Tom over various sessions dating back to 2018. This is a special one for us; we all put a lot of work into it and I think it showcases our musical sensibilities perfectly. Chaz’s songs are beautiful, and I’m really happy with how my playing and tones were captured on them.

In October I had the opportunity to try something new: recording a sample pack for Synth Jam Samples. The concept for the pack was to record 10 classic breaks with a variety of kits, so the end user will be able to customise their own version of each break and then use it as they wish. We recorded this over a week at Up Top Studios, a great little studio near me in Hertfordshire run by my friend Dan Wheeldon, with Jon Mann-Smith assisting on the engineering front. We tracked one-shots and grooves with 10 snares, 5 kick drums, 2 sets of toms and loads of cymbals and percussion, all through Jon’s lovely vintage outboard gear. This was a tricky project at times, with long and repetitive days (sampling the cymbals was particularly arduous), but ultimately rewarding.

Remote

The remote session train kept rolling in 2022, and I got to play on some amazing songs for artists and producers across the globe including Vic Allen, Samuel Nicholson, Barn Shaw and Doug Schadt. I also upgraded my recording rig significantly and acquired some fun new pieces of gear – check out this page for an up-to-date list: https://simontreasure.com/gearlist

One of my favourites I got to work on remotely last year was released in March; ‘Runaway’ by Danny O’Callaghan, produced by Jonny Bird. Jonny’s mix on this one is insane, with perhaps the biggest drum sound I’ve ever had on record!

As always I’m available for live, studio and remote work in 2023 – email me at simontreasure@hotmail.co.uk with any enquiries. Thanks to everyone who trusted me with their music this year!

2021 Summary

December 12 drums, gig, jacob hilton, john seaton, remote sessions, samuel lane, samuel nicholson, session, studio, vineyard worship

It was great to properly get back to work this year as restrictions were lifted and the world opened up. In the summer I finally started playing shows again, as well as continuing to record both remotely and in studios throughout the year. Here are some highlights from the past 12 months.

Live

My first gig back after a 14-month break was a joyous London headline show in May with Samuel Nicholson. After working on a record with Sam last year, I loved playing his amazing songs in a live setting with the same band. Despite some restrictions still being in place (limited capacity, all seated), it was a really fun night with an attentive and appreciative audience, and led me to realise how much I’d missed live performance!

In August I played David’s Tent festival for the first time with Samuel Lane. It really is a special place that you can only experience by being there – 72 hours of continuous worship with thousands singing together is an amazing thing. We had a killer band made up mostly of our St Albans Vineyard worship team; it was great to be there with close friends as well as catching up with other pals from around the country. Definitely one of my favourite gigs, and I look forward to hopefully returning soon.

Studio

I got to visit some new studios this year, starting with Brighton Electric in April with the lovely John Seaton. We tracked a single with producer Matt Fury, who I worked with last year on Lydia Evangeline‘s ‘Strange’. John and Matt were both a pleasure to work with, and we got some great low and crunchy tones in the studio’s spacious live room. This was also my first in-person session since the start of the pandemic, so it was refreshing to actually be in a room and collaborate with other humans again!

I worked with John again later in the year at Lightship 95, as well as another artist called Electric Pylon Radio. Lightship is an incredible studio located on a boat moored on the Thames that I’d wanted to record at for a while – in addition to the unique setting, it has a lovely vibe and lots of fun vintage gear to play with. Check out the finished EPR track here, produced and mixed by the great Giles Barrett: https://soundcloud.com/electricpylonradio/start-again

Remote

I did more remote sessions this year than ever before, making the most of my new space at The Factory Studios in Harpenden. I got to work with both old and new friends from around the world (including Italy, USA, Australia and Hong Kong) on a variety of material, all of which I’m really proud of. One of the highlights was this track for singer/songwriter Jacob Hilton, which suited my musical taste down to the ground:

Another was ‘Prayer Of Consecration’ for Vineyard Worship, produced by Rich DiCas. I’ve been involved with the Vineyard movement for almost 10 years and grew up listening to its records, so it was a joy to finally get to play on one. I’ve worked with Rich before as part of Marc James’ band and we always connected musically. I enjoyed the chance to work with him in a different capacity here – thanks for the call Rich! I was really pleased with how this song came out, with a beautiful vocal performance by Olu Meduoye.

You can check out some of my other favourite remote recordings here, and do get in touch with any enquiries:

I’m looking forward to more of all this next year as things continue to open up and the music industry bounces back. Huge thanks to everyone I worked with in 2021!

Remote Session Testimonials

March 3 jacob hilton, lydia evangeline, miles horn, remote sessions, studio

Here are a few testimonials from some of the lovely clients I’ve tracked drums for remotely.

Samuel Nicholson | Artist

“Having worked with Simon in the studio and on stage previously, his talent and work ethic have been abundantly clear to me for a long time. Recently under tight time pressure, I reached out to see if he’d have any capacity to work on drums and percussion remotely for a track that needed to come together very quickly. Simon was prompt, diligent, and above all completely sympathetic to my vision for the song. Impeccable feel, thorough musicianship, great communication. Would recommend again and again!”

Jacob Hilton | Artist

“The drum recordings that Simon has done for my songs have been outstanding. Each time I’ve worked with him I’ve found it to be an absolute breeze due to his speedy communication and understanding of what sound and style I’m looking for. He’s an incredibly professional musician, as well as being really friendly and passionate about each song you’ve written for him to play on. I honestly couldn’t recommend Simon highly enough.”

Miles Horn | Artist

“I was so happy with Simon’s remote drum recordings for my EP. Simon is an absolute pleasure to work with – he is attentive to the brief, meticulous in his preparation and patient when recording. I was really impressed with the overall sound quality and appreciated the chance to make revisions where necessary. What’s more, Simon delivered all the files in a really clear and organised way. I cannot recommend more highly.”

Lydia Evangeline | Artist

“Simon went above and beyond when I approached him to help me with one of my single releases last year. He was quick to communicate and deliver not only the original drum idea we’d had in mind but also various other suggestions for us to choose from, all within our tight time frame. I definitely hope to work with him again in the future!”

Barnabas Shaw | Producer

“Simon makes remotely recording high quality and great sounding drums very easy. Look no further for a top UK session drummer with great recording facilities and a serious pocket.”

James Bentall | Artist

“Simon was a pleasure to work with. Super fast and professional, and had some great suggestions on how to improve my song all while being respectful to my own vision. I also chose to have Simon mix the drums and percussion he recorded which improved the song even further. Would totally recommend this if you want a professional sounding mix!”

2020 Summary

December 12 drums, lydia evangeline, miles horn, music, recording, remote sessions, samuel lane, samuel nicholson, session, the factory

2020 was a difficult year for everyone, particularly musicians and creatives. My last live gig before the pandemic hit was on 12th March, and like everyone else I struggled to stay afloat for the rest of the year. Fortunately I was able to continue teaching online via Zoom, and I did more recording than ever, both remotely and in studios when restrictions were briefly eased. Here are a few highlights from the projects I was able to get involved with in 2020.

Lydia Evangeline

When lockdown began I was unable to access my usual studio and rehearsal spaces, and eventually resorted to setting up my drums and recording gear at home in my tiny flat. As well as working on a series of Corona Collab videos (https://www.youtube.com/watch?list=PLF-CthqlVBKVVs9VUlByko_mV_4X0T2dX&v=VLkQQRk3hhw), I got called to track for a few different artists. One of these was Lydia Evangeline, whose producer Matt Fury asked me to play on the song ‘Strange’. I was really happy to be involved with this one – Lydia’s songwriting is great, and musically it was right up my alley: the reference was even Phoebe Bridgers, one of my favourites. The song was released in July, receiving international radio play and almost 100K streams – not bad for drums recorded in a living room!

Samuel Nicholson

In September I was fortunate enough to play on an album for Samuel Nicholson, another great singer/songwriter whose previous work I love. We recorded it at 123 Studios in Peckham, a lovely spot with some amazing gear, and tracked nine songs live as a band over two days. This was pretty intense, but fun, and I’m really happy with how they all turned out. I used the studio’s 1966 Ludwig Super Classic with my 1954 Leedy & Ludwig snare for the entire record, just tweaking tuning, dampening and changing cymbals on each song. Here are a few clips from the sessions:

Vineyard St Albans

I’ve been part of the worship team at Vineyard for several years now, usually playing on Sundays to a congregation of hundreds, but during lockdown we were forced to start recording acoustic sets remotely. I produced several of these at home with my wife, but in the summer we moved to doing socially-distanced full-band sets at The Factory studios in Harpenden. These were all recorded and filmed by Eduardo and Leidy Vieira, both of whom are super talented and generous with their time and gifts. It’s been a pleasure not only to serve our local church but to play regularly with great musicians and friends in the absence of gigs. Below is a recent set with Samuel Lane.

Miles Horn

Towards the end of the year I also started working out of The Factory for my remote sessions. It’s a killer room and I think I’m getting my best sounds yet – I’m really grateful to Eduardo and the rest of the team for letting me use the space. My first project there was an EP for Miles Horn, who I originally played with back in 2013. It was great to catch up with Miles and work with him again on some new tunes, and I’m really looking forward to hearing the finished record.

Here’s a quick video showcasing some of the sounds from The Factory, going from completely raw to mixed then adding some overdubs. Get in touch if you need drums or percussion on your music!

I’m so grateful to everyone who hired me or made music with me in 2020; it’s always appreciated but now so more than ever. Hopefully 2021 will bring better and brighter times all round.

Corona Collabs

June 6 coronacollab, groove, recording, remote sessions, studio

While the world has been in lockdown during the coronavirus pandemic, like many musicians I’ve been finding alternative ways to get creative and continue playing with others.

Unable to access my usual studio space, I set up drums in the living room of my small flat just outside London – I’d never attempted this before due to space and noise concerns, but was left with no alternative during lockdown. It worked well and sounded surprisingly good, so I recorded and filmed a few grooves that eventually turned into a series of Corona Collab videos.

I sent the audio files to some of my favourite players in the UK and US, who tracked their parts then sent them back for me to mix and edit (with the exception of the first video, which was put together by Hunter). I didn’t specify anything musically, leaving it up to the musicians’ own judgement and taste; I’m super happy with what everyone played and how all the grooves came together.

Although I knew all the guys involved, each video features a combination of musicians that have never played together before in person – it’s been really fun to bring people from different worlds together and see how our styles blend. I’ve been missing playing live and doing traditional sessions over this period, but this has been a really fun creative outlet and method of collaborating which almost certainly wouldn’t have happened otherwise.

Huge thanks to Hunter West, Harry Phillips, Matt Aston, Ross Spurdle, Jude Smith, Matt Dinnadge, Charlie Thornton and Jack Shepherd for their time and playing: they’re all amazing musicians and worth checking out and following. All four Corona Collabs can be found below.

2019 Summary

December 12 call me loop, drummer, drums, emily mae winters, emily stratford, joe blustin, live, london, longfellow, marc james, remote sessions, session, studio

I had another busy year, continuing to work on some of my regular long-term projects as well as getting involved with a couple of new ones. Here’s a little of where 2019 took me.

Studio

I had several sessions with my pals over at The Bookhouse this year, playing on records for various singer/songwriters. It remains one of my favourite spots in London, with a cosy vibe and some lovely gear. Tom and Ian are both great engineers, and having worked together for a while now things run really smoothly.

View this post on Instagram

Back at @thebookhousestudio tracking with @chrlsbsh on my lovely Luddy

A post shared by S I M O N T R E A S U R E (@treasuredrums) on Feb 15, 2019 at 1:17pm PST

In June I tracked drums for Marc James‘ next album at Old Chapel Studios in Chichester, a studio I’ve wanted to visit for a long time. Although I’ve played live with Marc for years this is the first time I’ve recorded his stuff, and it was a super fun day. The live room at Old Chapel sounds incredible, and we used a nice variety of gear including the studio’s 70s Ludwig and a few snare drums. Looking forward to hearing the finished product.

Towards the end of the year I found a new spot to run remote sessions from, my friend Phil’s home studio. I’m really pleased to be collaborating with him; we’ve pooled our resources and between us have loads of cool drums, percussion instruments and recording gear to put to use. Below are some examples of the sounds we can get using different gear, tuning and mix techniques.

For rates and more info get in touch via simon@simontreasure.com

Live

One of my favourite shows of the year was in May, when I filled in for Matt Ingram at the launch of folk artist Emily Mae Winters‘ album High Romance. Matt produced and played drums on the record, and it was a pleasure to learn his parts and replicate all the different tones and textures. It was also nice to return to The Water Rats where I played my first London show 10 years ago!

I continued playing with Call Me Loop throughout the year, with several London shows, a couple of festivals and in October her first headline mini-tour of the UK. We hit Glasgow, Manchester and London and had a blast, with great crowds and shows all round. Below is the hybrid setup I’ve been using on the gig.

View this post on Instagram

Had a blast on @callmeloop’s mini headline run last week. Here’s a cheeky rig shot from Glasgow

A post shared by S I M O N T R E A S U R E (@treasuredrums) on Nov 3, 2019 at 9:56am PST

Releases

A few things came out this year that I was involved with. Firstly, Joe Blustin‘s Where Else EP that we tracked last summer, a mix of great worship songwriting and indie/electronic production.

Emily Stratford put out the two songs that we recorded at Livingston Studios in October 2018, produced by Sam Holmes and James Mottershead and featuring some lovely guitar work from my friend Harry Phillips.

Finally, my band Longfellow‘s eponymous debut album was released after a very long wait. Making this record in Brighton at Toy Room Studios was one of the best experiences of my career so far, and I’m really proud of both my playing on it and the album as a whole.

You can check all of these out on my discography playlist below.

Thanks to everyone I worked with this year for trusting me with your music; I really appreciate it and look forward to more in 2020.

2017 Summary

December 12 drummer, drums, festival, gig, holiday oscar, istanbul agop, LOOP, lucio & dina, marc james, music, recording, remote sessions, session, simon treasure, studio, tour

This time I thought I’d just pick a few of my favourite moments from the year.

Favourite Gig

Playing with Holiday Oscar at Bestival in September was a real highlight. Everything came together for this show – the vibe was super relaxed and fun, the band gelled together with minimal rehearsal and the crowd responded really well, singing along by the end of the set. I loved recreating Charlie’s songs live and choosing which kit/percussion parts to play. I ended up with different implements in each hand for every song, using a mixture of sticks, brushes, mallets, tambourines and a shaker as in the above track.

Favourite Tour

https://www.instagram.com/p/BVNiuZHFDzd/?taken-by=callmeloop

In May I went on a short European run with LOOP supporting Jonas Blue, hitting Cologne, Amsterdam, Paris and London. As well as playing drums, I edited the above tour video. It was amazing to play in new countries and some great venues, my favourite probably being Luxor. We sustained a few technical issues, but these were all overcome and the shows went great. Tickets for LOOP’s first headline show on 17th January available here.

Favourite Session

I recorded drums for Lucio & Dina Santana’s album Amor/Love in July. We tracked 11 songs in an 8 hour session (including setup), which is the most I’ve ever done. With the exception of one song I hadn’t heard any of the tunes before, so it was a case of listening to the demos, briefly discussing parts, doing 2 or 3 passes then moving on. Despite the time constraints it was a really rewarding session and I’m pleased with how the record came out. Stylistically it ranges from CCM pop/rock to more acoustic songs and even bossa nova on one track. My ’70s Ludwig kit sounded perfect in the room we used, and it was great to work with Marc James again, this time in the role of producer.

I’ve also done more remote session work this year – get in touch via simon@simontreasure.com to talk about recording drums for your project.

Thanks to everyone I worked with in 2017, looking forward to more next year.

Gear List

February 2 gear, istanbul agop, recording, remote sessions, session, simon treasure, studio

Below is a list of the gear I’m currently using in the studio and live.

RECORDING GEAR

Universal Audio Apollo x8p interface
Audient ASP880 pre-amp
2021 Apple MacBook Pro M1
Logic Pro X

MICROPHONES

Kick In: AKG D12VR
Kick Out: Neumann TLM 103/Warm Audio WA47-Jr
Snare Top: Shure 545SD/Shure SM57
Snare Bottom: AKG C391B/Shure SM57
Toms: Sennheiser MD421
Overheads: Neumann KM184 x2
Knee: Shure SM7B
Hi-Hat: Shure SM7B/SE Electronics SE8
Close Room: Cascade Fathead
Far Rooms: Audio-Technica AT4033a x2

KITS

Ludwig 1970 Super Classic (22×14/13×9/16×16)
Beverley 1960s New Standard (20×14/12×8/16×16)
Yamaha Oak Custom (22×17/10×8/12×9/14×12/16×16)

SNARE DRUMS

Ludwig 1965 Acrolite (14×5)
Ludwig Acrolite (14×6.5)
Ludwig Supraphonic 402 (14×6.5)
C&C Copper Over Brass (14×6.5)
Eames 1981 Rosewood (13×3)
DW Design Maple (14×5)
Leedy & Ludwig 1954 ‘The Reliance’ (14×6.5)
Ludwig 1968 Legionnaire Parade Drum (14×10)

BASS DRUMS

Premier 1960s/70s marching bass drum (28×10)

CYMBALS

Istanbul Agop 10″ Xist Ion Splash
Istanbul Agop 10″ Xist Dry Dark Hi Hats
Istanbul Agop 15″ Traditional Medium Hi Hats
Istanbul Agop 16″ 30th Anniversary Hi Hats
Istanbul Agop 18″ Traditional Dark Crash
Istanbul Agop 20″ Traditional Dark Crash
Istanbul Agop 20″ Xist Crash
Istanbul Agop 20″ Signature Ride
Istanbul Agop 22″ Traditional Medium Crash
Istanbul Agop 22″ 30th Anniversary Ride
Istanbul Agop 22″ Mel Lewis Ride
Istanbul Agop 23″ Matt Chamberlain Ride
Zildjian 14″ 1960s A Hi Hats

IN-EAR MONITORS

Cosmic Ears CE6P

ACCESSORIES

Vic Firth 55A sticks
Remo Heads (Coated Vintage Ambassador or coated Controlled Sound on snare, coated Vintage Ambassador on toms and clear or coated Powerstroke 3 on bass drum)
DW Hardware (3000, 6000 and 9000)
Snareweight M1 and M80
Big Fat Snare Drum mutes
Roots EQ mutes
Drum Tortillas
Various Keplinger, Tackle Instrument, Index Drums and Upcycled Percussion accessories

ELECTRONICS

Roland SPD-SX
Roland KT10, RT-30HR & RT-30K triggers
Cymatic Audio LP-16

VIDEO

Sony A6300 camera (Sigma 16mm f1.4, Sony 35mm f1.8, Samyang 12mm f2.0)
Adobe Premiere Pro CC

Live

Studio

Remote

Live

Studio

Remote

Lydia Evangeline

Samuel Nicholson

Vineyard St Albans

Miles Horn

Studio

Live

Releases

Favourite Gig

Favourite Tour

Favourite Session

RECORDING GEAR

MICROPHONES

KITS

SNARE DRUMS

BASS DRUMS

CYMBALS

IN-EAR MONITORS

ACCESSORIES

ELECTRONICS

VIDEO

Search

Recent Posts

Categories