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Jeramie Kling

Jeramie Kling

Drummer, FOH Engineer
Jeramie Kling

When you start drumming at the age of two, you're probably destined to make a career out of it. As well as doing just that as drummer with The Absence, Jeramie King has forged a successful career as both a Front of House and recording engineer and has worked with some of the biggest names on the metal scene…

The Absence, SEPULTURA, Venom, Death Angel and Exodus
Jeramie is using...
You sing it, I'll drum it

I got my start very early because of my dad. He was a major driving force in my creativity, I mean everything, the man that I am, all goes back to that guy. He was a good one - great musician too. I have photos of me as early as 2 with drumsticks. My dad was a guitar player, my brother is 6 years older than me and he was playing drums as well. So, by the time that I reached five or six I was already playing drums regularly - Just the stock standard, 1,2,3,4, with snare on the 3.

I played my first ‘show’ in fourth grade. It was a talent show/recital at my school. While all the other kids got together and sang songs I got to bring my drum kit and play along to 'The Lion Sleeps Tonight' by The Tokens.

I was into the heavy stuff really early because my older brother was already into Sepultra, Biohazard, early Clutch records and Pantera. I also really liked Nirvana, NOFX, bands like that. I couldn’t find any guitar players that wanted to play heavy, but I had a friend who wanted to do punk stuff. So, we did lots of pop punk, pop punk covers and stuff. Then at 16 I started a kind of kind of Korn or Limp Bizkit type of metal band and things just developed from there.


Touring, Front of House and High-altitude Masks

I’ve been playing ever since. Even now, when I’m training for a tour, I play six days a week, at least 2-6 hours a day. I actually train with a high-altitude mask - I restrict my breathing so whenever it comes to fight time…

My wife and I are eating basically predominantly vegetarian and vegan, just to help grease the wheels - keep ‘em rolling - because I’m not getting any younger. I also don’t drink; this December was four years for me. I do a bit of tobacco, only in a pipe (The Brits make fun of me for that!).

Jeramie shares his time between touring as one of metal’s go-to drummers, and Front of House sound engineering for some serious touring acts:

I have, like, 14 projects that I play in. It's really mental. I was supposed to be in Europe with Exodus doing FOH for them but playing has picked up. I play drums in Venom, I play drums in The Absence and do all the production for them. My wife and I filmed the last two videos - we had them cut by someone, but we did all the cinematography for that band.

I do FOH for Sepultra, Exodus, Death Angel; we did a tour with Slayer and Anthrax. Man, it was a crazy few years. I had to feed all these kids and I knew that if I just kept at it and kept at it I would gain more knowledge, I would gain more friends and I would gain more connections.


Mind Blowing

When I'm in the studio I’m running through an Audient ASP008, so that’s my main mic pre. I have one of the Isochrone OCX, those high-resolution clocks, that clocks all my stuff together. I’m running everything just through a Focusrite Octopre, that’s my interface, and then everything else is in the box. I have various Waves plug-ins that I use, I have ProTools 12. 12, which is great, freezing and unfreezing tracks is brilliant. I’m running a set of Genelec 1030A’s and I have a set of Yamaha HS5-Ms, the ones that supposedly replaced the NS10’s.

Proper cabling makes such a difference. I got an entire Klotz package to redo my entire studio. I only did the right half at first; the left half was original, the right half was all new Klotz M5’s. I plugged in and the difference between side left and side right was MIND BLOWING. It sounded like there was a sofa pillow over the left side, and then the right side, it was, you could hear everything. You could hear all the stuff I had enhanced to get it to sound like that in my speakers, when I didn’t need to. It was already there. It was just being choked out by the mic cable.

Beautiful Tanks

If I’m doing FOH, or if I’m just going on tour, I’ll bring my own mics with me. On this last tour, I had the Starlights. Everyone I show them to loses their sh**, they’re like ‘wait, they have lasers?’ and I tell them ‘They’re not gonna cut the drums in half – look, now you can tell where your sound source is, how brilliant is that?’

I also had my Origin, which is great. The Origin is completely transparent, and the articulation, especially on my singer for The Absence, Jamie, his scream in particular, it adds such a texture. You could hear the texture around his voice. There’s a place on the new record where he’s ran through a nauseatingly strong compression chain, which makes him sound like almost like a guitar. That microphone allows those aspects of his vocals to come to life. That was a really big moment. Klotz and Aston  - as soon as I got those plugged in, that combo, and then had him singing, I was like “Oh my god, dude”.

I have used both Starlight and Origin mics in the studio and on the road. They never fail – these microphones are like beautiful tanks! The sound quality is second to none. For recording I tend to use the Origin on vocals and acoustic guitars in the studio. I also particularity like the Origin as a room mic for drums. And then I have the Aston Halo and the isolation I am getting with that Is quite amazing – slapbacks are thing of the past!


Q. Who are your favourite artists/bands 
A. Metallica, Opeth, Bjork, Myrkur, Venom and many many more.

Q. If you weren’t working in music what would you be doing?
A. Laying dead in the ground

Q. What would your fantacy mic be?
A. One that makes me a coffee. Please make this happen Aston!

Q. What are the 4 words you'd chose to describe Aston, or your experience with the brand?
A. Top Of The List, The Go To Microphones!




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