Superproducer Jeff Bhasker recently discussed the art of drumming and how he achieved a retro sound on Mark Ronson’s 2015 hit, “Uptown Funk,” which seamlessly blends classic influences with modern pop. In an interview for Mix With The Masters, Bhasker, who has collaborated with a range of A-list artists including Kanye West, Harry Styles, and Madonna, emphasized the importance of nailing the drum sound.
He likened the process of transforming a ‘dry’ drum sound into something vibrant to the techniques of legendary producer Phil Spector. “It’s kind of like what Phil Spector did. You’d enter the live room, and it would feel like a live rehearsal. He’d have his reverb set up, creating these magical sounds.”
Bhasker noted that this skill has become somewhat rare in contemporary production. “These days, we rely heavily on loops, and that process is often pre-recorded. You can easily take something from a sample; there are loops that don’t require clearing, making them feel more generic and disposable.”
He also critiqued the tendency to micromanage modern drum sounds. “Creating the right ambiance and capturing a certain air is crucial, and there are various mic-ing techniques for drums. Often, just one mic along with a kick and snare yields the best sound.”
Bhasker pointed out additional key elements that contribute to the retro vibe of the track. “It all begins with the player and the instruments. Tuning the drums, selecting aged drums for a specific sound, and having a drummer who understands the desired tone are essential.”
He reminisced about a session with esteemed soul drummer James Gadson, known for his work with Bill Withers. “I watched him bring in his drum kit and set it up. He tested his kick drum pedal, and I thought, ‘That’s it – that’s the ‘Use Me’ kick!’”
“It wasn’t the mics or the compressors or the tape – it was the foot and his drum! That’s how you got that sound. It’s crucial to have a drummer who envisions how the drums should sound once recorded. This distinction makes the difference between a drummer who projects energy to an audience and one who can gradually unleash that energy during a recording.”
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