More recently, mixing Megadeth’s “Dystopia” and Korn’s “Serenity of Suffering” were big “come full circle” moments for me. Gojira’s “L’enfant Sauvage” felt like a turning point for me in a lot of ways, so it holds a special place.
I never knew what record I would be working on next but it would always be great. It was also a very cool time for me because I was engineering for a lot of great producers at the time. Shiny Toy Guns always holds a special place for my heart since I began dating my (now) wife during that record. I was excited about that because there wasn’t a distorted guitar on the record. Receiving a Grammy for engineering on Steve Earls “Washington Square Serenade” was awesome. In fact, I judge the overall record experience based solely on how much fun I had during the process! Sometimes you remember moments that were monumental in your career, like when I was asked to produce Lamb of God’s “Wrath”, it debuted at #2 on Billboard! Obviously that was a huge moment for me. I’ve had so many great moments and tons of laughs. Looking back on your career, name a few stand-out moments and productions. You’re coming up on almost two decades of making records. I was happy to do anything that allowed me to be creative with other talented artists. I just really enjoyed making records and was happy to engineer, mix or produce. For me, I wasn’t really trying to “become a producer”. Then you realize how much fun you have recording.
I think, like a lot of guys, it started with playing in bands. How did you get started in the music business and how come you found your home on the producer’s side of the glass? Was sound and production something that always interested you? No matter how crushing your guitars or bass may be, a strong foundation of drums is a key factor in any metal mix. Add to that a broad collection of custom presets, both those engineered by Josh himself, resembling a selection of highlights from his catalogue, as well as those engineered from the ground up without any reference. With its perfectly treated one-thousand-square-foot live room, it has proved time and time again in countless sessions to be an ideal location for ambient but still tight and defined drums that have a transparent character.Ĭombined, the Drums of Destruction EZX gives you Chris with his forceful, driving and unique style of drumming paired with Josh’s cutting edge but still organic-sounding production style. It was recorded through an SSL4064G+, various chains of analogue outboard and captured with carefully selected microphones at Josh’s studio of choice, Hybrid Studios in Orange Country, CA. In addition, it includes five snares, one extra kick as well as Chris’ trademark abundance of cymbals. The Drums of Destruction EZX comes with two full kits, one of which is Chris’ personal Mapex set while the other is a Pearl * Reference kit that was handpicked by Josh and used on several of his productions. Individually, they have been forerunners with several groundbreaking works in their respective fields for close to two decades and together, widely acclaimed for having shaped the sound that’s made Lamb of God a mainstay force on the modern metal scene. The Drums of Destruction EZX was produced by Grammy Award-winning engineer Josh Wilbur together with ex-Lamb of God drummer Chris Adler.
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