The obsession over different bass drum sounds is completely achieved. It’s better for me to be ‘acoustic drum guy.’ What’s gonna work with Ultraista is somewhat of a similar idea but it’s more like, ‘We can use a small regular drum set and intermingle that with programming.’ But the last time we were doing stuff, I was like, ‘Let’s use the bass drum on the tracks.’ It gives it this quality where it’s like, we’re trying to make it electronic hybrid. And if you’re gonna be stock, that’s great, that’s fun but so many of the collaborations I’ve done over the years, there’s the mentality of everyone’s trying to do something new…And with Thom, he’s super deep into. A lot of people do stuff like that but I’m definitely into the idea of how do you make a drum set that doesn’t sound stock. I have a whole kit that’s set up that’s like a tiny…A children’s 16” bass drum and tiny snares and teeny tiny hi hats from Istanbul and noisemakers. I’m way down the rabbit hole on that stuff. That ends up being like tiny snare drums, etc. What will sound like live drums but a drum machine if I’m just playing for a live show? And this is going to be cool because then it’ll be a palette for recording. But my go to is definitely like how do I interpret…how can I reinvent the wheel on this and show up with…I’ve developed a whole kit around. Like, a jazz drum kit - let’s see what happens. “For sure, if we’re doing stuff, there’s definitely a discussion.

When asked about playing with Thom, he mentions using smaller kits and also playing along with sequenced drums (”tracks”) instead of replacing them during recording:

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