Karl Latham: Beating the Drum

Karl Latham: Beating the Drum

Karl lives in a very unique home in Warwick, NY - a house that once belonged to Grammy-winning bassist, Mark Egan - perhaps the most recorded fretless bass player in history.  It boasts a recording studio designed by the legendary John Stork, and his closest neighbor is a vacant 500-acre parcel of land. It's easy to understand why Latham cites his location as the perfect place to make music: silent for most of the day, aside from the occasional 777 making its descent into Newark Airport in the distance.

Influences

“I work with so many genres, man,” beams Latham, adding that this ties in with his 'very interesting life' and is also reflective of his personality. “I am a Gemini, so I play everything!  Rock, Latin & Brazilian jazz...just about everything. I like Foos and Metallica as much as I like John Coltrane!  I am a serious Björk fanatic, and once hearing “I See Who You Are” (from the Volta Album), I knew I wanted to cover it! “

 

 

His house is set up as a recording studio

“Yeah, the entire house is basically wired to record anywhere,” he confirms, with a smile. “I still use Pro Tools as my capture piece, and to mix, but whenever the first RME Fireface came out, I was front of the line to get one, and I have stuck with that brand ever since. I had the Fireface 800, and when I came into this house, which also has a recording studio designed by John Stork, I realized I could work anywhere. I have a huge mixing room, a loft with tie lines, a living room has tie lines, and there is also a booth. This Studio is a gift from the universe... Somehow, it came to me! So then I wanted to upgrade. Everyone was moving to the Universal Apollo [interface], and I have a great relationship with a music store called Alto Music out here in the US, so I called their tech guy and asked him what he thought. He said, 'Karl, you'll hear the latency in the Apollo, keep your Fireface.' He said it's only one in 10,000 people that would hear this problem, but I was one of them! [laughs] He said I would hear it as a phasing issue, so I thought, ok, I'll talk to RME.”


So Latham sent a blind email to RME, explaining that he wanted to upgrade, that he loved their products, and that he was going to buy something anyway, but was there a chance of some kind of relationship? “Richard de Clemente at RME sent me an email back saying he not only knew who I was, but he was a fan. I couldn't believe it!” Latham laughs. “He sent me the Fireface UFX – and now the entire studio runs on it. I use it for a clock, and for all the recording.”
His record, “Living Standards” was all recorded using the UFX, as will Latham's next project, Big Funk. At any one time, he is running 20 channels, and he can get even more than that if he needs to. “I am bringing in eight channels of all these boutique preamps in through Lightpipe; I have five Neve clones, and five API clones, then I have two Graces, and a Focusrite four-channel,” Latham reveals. “I can put in another eight channels of Lightpipe if I need to, and what's great about this unit is the piece in front, the total mix – this is the thing that separates it from other pieces, for me. Van Romaine (producer, and drummer for Enrique Iglesias) said the same to me - he uses it live on Enrique with Ableton Live.”

“It's so clear, intuitive, and logical; and you can keep splitting the signal with no degradation to set up as many cue mixes as you want: EQ, dynamic processing, and any number of different scenes. I have a tracking scene with a certain mix that goes to the mains, and all the different cue mixes. Then you can set up a playback scene, where you are just hearing what the tape return is. And then I can also set up separate scenes – for example, the next session I'm doing involves drums, bass, sax, and keys, so for overdubs, I set it up so that nothing comes through except for whatever instrument is going to be overdubbed, and then the main mix goes to their cue mix. And for drummers in particular, it's amazing: unlimited I/O, no latency, and you can use whatever pres you want: the ones on it are great, too."

 

RME Audio Babyface Pro

Latham is also a fan of RME's super-portable Babyface Pro, which he describes as somewhat of a pocket-rocket: “You can do an entire tracking session on the Babyface, and what's so amazing about that is, it's USB-powered, so you just plug it into your laptop,” Latham enthuses. “It has phantom power on two channels, and you have two other balanced channels, and then you can use a Lightpipe piece to get an additional eight channels. So you can track 12 channels on this piece that's barely bigger than your wallet! The only reason I need to go to the UFX is that I like to throw room mics up, and my Yamaha sub kick to get the really low stuff if I want to dial it in. You can go as far out as you want."

Latham also uses RME kit when recording overseas. He's been working in Germany pretty constantly for the last 20 years, both as a touring musician, and recording artist. “The last tour I did in Germany was in November, and we did three recordings. The only place they didn't use full RME kit for the recording was at Bauer [Studios], which says it all – that's a major facility with a great Neve console,” says Latham. “We also did a live video [in Germany] using 24 channels, and bearing in mind the guy that did it has a studio comparable to Bauer, his mobile rig is 24 channels of RME converters. Then there's a place in Cologne called Loft where we record regularly, and again that is entirely an RME-based system.”

For Karl Latham, travelling the world, playing drums, and making the music you want to make makes for a fulfilling life. “I set out with the goal to try to be true, and I realize every day that I have to wake up the next morning and look at myself in the mirror and ask, 'did I achieve what I should have achieved in that day? Did I do well by people, myself, and my family?' Man, I wish I had reached that zone in my 20s!”

 

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