How to Get LCD Soundsystem's Drum Sound: Gear, Recording Techniques & Samples

I've always loved how LCD Soundsystem makes electronic music feel like a real band.

Their songs are full of repetitive synthesizer basslines, hypnotic drum patterns, and grooves that sometimes continue for eight minutes or more. But somehow, the music never feels mechanical or lifeless.

A huge part of that comes down to the drums.

Listen to "Dance Yrself Clean," "I Can Change," "All My Friends," or "Daft Punk Is Playing at My House." The percussion feels like a strange combination of disco, post-punk, electronic dance music, and a bunch of friends playing together in a room.

It's tight and repetitive, but also raw, imperfect, and unmistakably human.

So how does James Murphy get that sound?

Fortunately, he's talked about his recording techniques in surprising detail. And between his vintage acoustic drum kits, unusual microphone setups, Roland drum machines, and synthesizers, there's a lot to learn.

Here's what I've discovered about LCD Soundsystem's drum sound, and how I approached recreating it for my own music.

What Makes LCD Soundsystem's Drums Sound So Unique?

I think the magic of LCD Soundsystem comes from combining two things that don't always go together: electronic repetition and human performance.

A lot of dance music is built around precise, repetitive drum patterns. Every kick lands exactly where it should, every snare sounds identical, and the rhythm remains consistent throughout the song.

That precision is part of what makes electronic music so effective on a dance floor.

But LCD Soundsystem takes that repetitive approach and combines it with the energy of a live band.

The drums have personality. The performances aren't always perfectly quantized. And the sounds themselves often have a rough, organic quality that you don't necessarily get from a conventional drum machine.

It's almost like hearing a post-punk band playing disco music.

And that's what makes the whole thing work.

James Murphy's Acoustic Drum Kit

Before getting into drum machines, I think it's important to talk about the acoustic drums.

In a 2007 interview with XLR8R, James Murphy described using a 1957 Gretsch jazz drum kit for his studio recordings.

He spoke very highly of the kit, explaining that it sounded incredible regardless of how he tuned or miked it.

That vintage acoustic kit is an important part of understanding the sound.

Rather than relying entirely on electronic percussion, Murphy often builds his productions around the character of real drums.

And those drums don't necessarily sound like a modern, heavily polished rock recording.

They're often tight, controlled, and slightly imperfect.

That makes them particularly effective alongside repetitive synthesizer parts and electronic rhythms.

How James Murphy Records Drums

One of the most interesting resources I've found is a 2011 interview between Todd Terje and James Murphy.

Terje asked Murphy how he records drums, and Murphy gave a remarkably detailed explanation of his process.

What's interesting is that a lot of his techniques have less to do with expensive studio equipment and more to do with controlling how the drums behave acoustically.

He was describing techniques used for some DFA recordings, rather than documenting the setup of every LCD Soundsystem song, but they're incredibly useful for understanding his production approach.

1. Deadening the Room With Blankets and Furniture

One of Murphy's first recommendations is to make the recording room relatively dead.

He describes hanging blankets on walls, using large duvets to reduce reflections, and even placing furniture near the drum kit to control unwanted low-mid frequencies.

He also describes building a small enclosure around the kick drum microphone using a piano bench.

The idea is to reduce bleed and unwanted reflections before the sound ever reaches the microphone.

I love this approach because it's so practical.

Instead of relying on expensive acoustic treatment or trying to fix everything with plugins, he's physically shaping the sound of the room.

And it makes sense for the music.

When you're combining acoustic drums with repetitive synthesizers and electronic percussion, you generally don't want every drum hit creating a massive wash of room ambience.

You want something tight enough to sit comfortably in the arrangement.

2. Making the Toms Go "Thud" Instead of "Booooong"

This is probably my favorite detail from the entire interview.

Murphy explains that he removes the bottom heads from his toms and dampens them using fabric gaffer's tape and small pieces of neoprene mouse pad.

The goal is to make the toms produce a short, controlled "thud" rather than a long, ringing "booooong."

That's such a good description of the difference between a tight, punchy drum sound and a more resonant one.

A huge, ringing tom can sound incredible on its own, but when you're building repetitive dance grooves, shorter drum sounds often work better.

They leave more space for the bassline, synthesizers, and other percussion.

It's also a great reminder that a lot of great drum production starts with tuning and dampening the actual instrument.

Not EQ.

Not compression.

Not plugins.

Just making the drum sound right before you record it.

3. The Microphones Behind the Sound

Murphy also described his microphone setup for recording drums.

He uses a combination of close microphones and vintage ribbon microphones to capture different characteristics of the kit.

Some of the microphones he mentioned include:

Drum / position	Microphone
Kick	Neumann TLM 193
Snare top and bottom	Neumann TLM 193
Toms	Electro-Voice RE2000
Overheads	Schoeps or AKG 451
Ribbon microphones	RCA BK-5 or Coles 4038

He also mentioned the Equitek E100 as a more affordable alternative for certain applications.

But what's most interesting isn't necessarily the specific microphones.

It's how he uses them together.

4. Combining a Tight Disco Sound With a Warm Soul Sound

Murphy describes using two different microphone approaches to capture the same drum kit.

The close microphones give him a tight, controlled sound.

He also uses two ribbon microphones: one positioned above the kit and another in front of the kick drum.

He measures their distances from the kick beater so the two ribbon recordings are aligned in time.

The ribbons capture a more cohesive, organic picture of the entire kit.

Murphy describes the close microphones as the disco side of the sound, while the ribbons provide a warmer, more soulful character.

By blending the two, he can move between something tight and punchy and something more natural.

I think this is one of the most interesting ideas in his entire approach.

Instead of trying to make every microphone capture the same sound, he's recording different personalities of the drum kit and combining them.

That balance between controlled and organic is a huge part of what I love about LCD Soundsystem.

5. Recording Drums With Plenty of Headroom

Another surprising detail is how conservatively Murphy sets his microphone preamps.

Rather than driving every drum microphone aggressively, he prefers relatively low input gain with plenty of clean headroom.

His reasoning is that recording too hot can exaggerate unwanted ringing, room reflections, and cymbal noise.

He sometimes drives the ribbon microphones harder, but he generally keeps the individual drum recordings controlled.

He also mentions using Universal Audio 610 preamps without compression, sometimes adding a little high-frequency EQ for extra snap.

It's a useful reminder that a great drum sound doesn't necessarily start with heavy compression.

Sometimes it starts with a well-controlled drum kit and a clean recording.

You can read the original discussion in Todd Terje's 2011 interview with James Murphy.

What Drum Machine Does LCD Soundsystem Use?

Of course, acoustic drums are only half the story.

LCD Soundsystem also uses vintage electronic percussion and synthesizers to create the mechanical, repetitive side of their sound.

According to Mixdown's LCD Soundsystem gear rundown, drummer Pat Mahoney has used several electronic percussion instruments in the band's live setup.

These include:

• Roland TR-808: The iconic analog drum machine known for its deep kicks, synthetic snares, and distinctive electronic percussion.

• Roland TR-33: An early Roland rhythm machine with a vintage preset-rhythm character.

• Simmons SDS-V: An analog electronic drum synthesizer famous for its powerful synthetic tom sounds.

• Simmons SD8: Electronic drum pads used to expand the band's live percussion setup.

These instruments help explain the electronic side of LCD Soundsystem's sound.

But it's important to distinguish between equipment documented in the band's live setup and the exact instruments used on individual studio recordings.

The Roland TR-808 and LCD Soundsystem

The Roland TR-808 is particularly interesting because its synthetic percussion sounds fit naturally into the band's electronic influences.

Introduced in 1980, the TR-808 creates its sounds using analog synthesis rather than recordings of acoustic drums.

Its distinctive kicks, snares, toms, and percussion have become some of the most recognizable sounds in electronic music.

The TR-808 is documented as part of LCD Soundsystem's live equipment, and its sound is a useful reference when recreating the electronic percussion textures associated with the band.

For my own LCD Soundsystem-inspired drum pack, I focused on recreating the electronic percussion character I was hearing alongside the organic acoustic drums.

Simmons Electronic Drums

LCD Soundsystem has also used Simmons electronic drum equipment.

The Simmons SDS-V is particularly famous for its huge synthetic toms and distinctive electronic pitch movement.

These sounds are strongly associated with 1980s production, but they can also work beautifully in modern post-punk, indie dance, and experimental electronic music.

Simmons pads also allow a drummer to perform electronic percussion parts with the physical energy of a live drum performance.

That's a great example of the balance between electronic sound design and human performance that makes LCD Soundsystem so interesting.

James Murphy Also Makes Drum Sounds With Synthesizers

One of the most fascinating things I've learned about Murphy's production process is that he doesn't always use conventional drum machines to make electronic percussion.

In a 2007 interview discussing Sound of Silver, he explained how the original beat for "Get Innocuous" was created using a Yamaha CS-60 synthesizer.

Rather than programming a traditional drum machine, he synthesized percussion sounds, including kicks and snares, sampled them, and assembled them into a rhythm.

He also discussed programming beats without rigid grid alignment.

The idea was to make the rhythms feel more fluid and easier to play alongside.

This is such an interesting approach.

A synthesizer isn't just something you use for basslines, pads, and leads.

It can also be an instrument for designing entirely new drum sounds.

And those sounds can have a completely different character from a traditional acoustic kit or drum machine.

It's another reason I think LCD Soundsystem's drums are so distinctive.

They're not limited to one instrument or one method of making music.

Breaking Down LCD Soundsystem's Drum Sounds

If you're trying to recreate LCD Soundsystem's production style, there are a few songs I'd recommend studying.

"Dance Yrself Clean" — Dynamics and Restraint

"Dance Yrself Clean" is one of the best examples of how LCD Soundsystem builds energy through arrangement.

The song begins relatively quietly before exploding into a much larger, more powerful section.

The rhythm itself doesn't need to be incredibly complicated.

Instead, the drums become more impactful as the arrangement develops.

Production tip: Start with a restrained groove, then introduce fuller drum sounds, stronger accents, and additional percussion layers when the arrangement opens up.

"I Can Change" — Hypnotic Electronic Grooves

"I Can Change" is a great example of the band's synth-driven side.

The repetitive electronic rhythms work alongside the synthesizers to create a hypnotic, danceable feel.

It's the kind of production that makes me want to combine electronic percussion with more organic drum sounds.

Production tip: Start with a consistent electronic rhythm, then experiment with acoustic snare and hi-hat sounds to introduce natural variation.

"All My Friends" — The Power of Repetition

"All My Friends" is a masterclass in using repetition to create emotional intensity.

The arrangement gradually builds around a persistent rhythmic foundation.

It's a reminder that a great groove doesn't need to change constantly to remain interesting.

Production tip: Keep the underlying rhythm relatively simple and let the instrumentation, dynamics, and arrangement create movement.

"Daft Punk Is Playing at My House" — Raw Dance-Punk Energy

This track captures the more aggressive, punk-influenced side of LCD Soundsystem.

The drums have the energy of a live band while supporting a groove that's clearly influenced by dance music.

Production tip: Try combining punchy acoustic drums with tightly programmed electronic percussion.

The contrast between the two can create something that feels both mechanical and alive.

How to Recreate LCD Soundsystem Drum Patterns

If you're trying to make music inspired by LCD Soundsystem, I'd start with a simple groove.

The goal isn't necessarily to create complicated drum programming.

It's to make repetitive rhythms feel exciting.

1. Start With a Simple Kick and Snare Pattern

For a dance-oriented track, try programming a four-on-the-floor kick with a snare on beats two and four.

Not every LCD Soundsystem song uses this pattern, but it's a useful starting point.

Let the bassline and synthesizers interact with the rhythm before adding more percussion.

2. Use Tight, Controlled Acoustic Drums

Based on Murphy's recording techniques, I'd focus on acoustic drum sounds with relatively short decays.

Avoid excessively roomy or resonant samples if you're trying to create a tight dance-punk groove.

You can always add ambience later.

3. Layer Electronic Percussion

Try adding an electronic kick, snare, or percussion sound underneath your acoustic drums.

The electronic layers can provide consistency and impact, while the acoustic recordings add personality.

4. Introduce Natural Variation

This is probably the most important part for me.

When you program a drum pattern using the exact same acoustic sample repeatedly, your ear can start to recognize the repetition.

Even if the rhythm is technically perfect, it can feel unnatural.

One solution is to use multiple recordings of the same drum.

This is where multisampling becomes really useful.

5. Let the Arrangement Build

Rather than constantly changing the drum pattern, try building the arrangement around it.

Add synthesizers, introduce percussion layers, change the dynamics, and gradually increase the intensity.

Sometimes the most effective groove is the one that stays consistent while everything around it changes.

Why I Made LCD Drum System

I've always loved the combination of electronic repetition and human performance in LCD Soundsystem's music.

I love sequenced analog basslines and hypnotic synthesizers, but I never want my productions to feel sterile or overly polished.

The moment you combine those electronic elements with lively, expressive drums, everything changes.

Suddenly, it feels like a band instead of a machine.

That's what inspired me to create LCD Drum System, my own collection of 267 original multisampled drum samples inspired by LCD Soundsystem.

Honestly, I mostly made these sounds for myself.

I wanted a drum library that captured that raw, imperfect, human quality without sacrificing the punch and consistency that makes electronic music so satisfying.

So I spent months recording an acoustic drum kit and electronic textures from my Roland TR-1000.

I focused on creating sounds that I would actually reach for in my own productions.

And rather than recording each drum once, I captured multiple takes of every sound.

Why I Multisampled Every Drum

One of the biggest problems with programmed acoustic drums is repetition.

Most drum sample packs give you one recording of each kick, snare, hi-hat, or tom.

When you program a repetitive beat, the exact same recording plays over and over.

And eventually, your ear can recognize that repetition.

That's why I decided to multisample every sound in LCD Drum System.

Instead of recording a snare once, I captured approximately six to eight takes.

Each recording has subtle differences in attack, tone, and resonance.

When you use a sampler with round-robin playback, it can cycle through those recordings automatically.

Instead of hearing the exact same snare hit every time, you hear slightly different performances.

This is particularly useful for repetitive dance-punk and indie dance grooves, where a drum pattern might continue for several minutes.

Less repetition. More groove. More life.

What's Included in LCD Drum System?

LCD Drum System contains 267 original drum samples built from 34 unique drum sounds.

The collection combines real acoustic drum recordings with electronic percussion textures from my Roland TR-1000.

Every sound was captured multiple times to preserve natural variation.

The pack includes:

• 267 original drum samples

• 34 unique drum sounds

• Approximately 6–8 recordings per sound

• Real acoustic drum kit recordings

• Roland TR-1000 electronic percussion textures

• Ableton Live 12 Drum Rack with multisamples pre-mapped

• Organized WAV files for compatible DAWs

• Royalty-free sounds for original music productions

It's designed for dance-punk, indie dance, post-punk, synth-pop, alternative rock, and anyone who wants programmed drums to feel a little more human.

Ableton Live 12 Drum Rack Included

I also wanted the pack to be easy to use.

LCD Drum System includes a ready-to-use Ableton Live 12 Drum Rack with the multisamples already mapped.

That means you can start programming grooves without manually organizing hundreds of individual recordings.

The pack also includes WAV files that can be used in compatible samplers in Logic Pro, FL Studio, Ableton Live, and other DAWs.

If your sampler supports round-robin playback, you can configure the different recordings to alternate automatically.

Download LCD Soundsystem-Inspired Drum Samples

If you love the drums on "Dance Yrself Clean," "I Can Change," or "All My Friends," and you've been looking for drum samples that capture that combination of acoustic energy and electronic repetition, I made LCD Drum System for exactly that purpose.

These aren't samples taken from LCD Soundsystem recordings.

They're original recordings of real instruments, designed to help you create your own music with a similar spirit.

Explore LCD Drum System — 267 Multisampled Drum Samples

Frequently Asked Questions

What drum machine does LCD Soundsystem use?

LCD Soundsystem has used several electronic percussion instruments, including the Roland TR-808, Roland TR-33, Simmons SDS-V, and Simmons SD8. The band also uses acoustic drums and synthesizers to create percussion sounds.

What drum kit does James Murphy use?

In a 2007 interview, James Murphy described using a 1957 Gretsch jazz drum kit for studio recordings.

How does James Murphy record drums?

In a 2011 interview with Todd Terje, Murphy described using blankets and furniture to control room reflections, dampening toms for shorter decay, combining close microphones with vintage ribbon microphones, and recording with plenty of headroom.

What microphones does James Murphy use for drums?

Murphy has mentioned Neumann TLM 193 microphones for kick and snare, Electro-Voice RE2000 microphones for toms, Schoeps or AKG 451 overheads, and RCA BK-5 or Coles 4038 ribbon microphones.

What drum machine was used on "Get Innocuous"?

James Murphy explained that the original beat was created using percussion sounds synthesized on a Yamaha CS-60, which he sampled and arranged into a rhythm.

How do I recreate LCD Soundsystem's drum sound?

Start with tight acoustic drums, repetitive dance-oriented rhythms, and electronic percussion layers. Focus on natural variation between hits and build energy through arrangement rather than constantly changing the beat.

Where can I find LCD Soundsystem drum samples?

Tuesday Samples offers LCD Drum System, a collection of 267 original multisampled drum samples inspired by LCD Soundsystem's acoustic and electronic percussion sound.

Are LCD Drum System samples taken from LCD Soundsystem recordings?

No. LCD Drum System contains original recordings made using an acoustic drum kit and Roland TR-1000 electronic percussion textures. The pack is independently produced and is not officially affiliated with LCD Soundsystem.

Can I use LCD Drum System in FL Studio or Logic Pro?

Yes. The included WAV files can be loaded into compatible samplers in FL Studio, Logic Pro, Ableton Live, and other DAWs. The included Drum Rack is designed for Ableton Live 12.

Are the samples royalty-free?

Yes. LCD Drum System contains original royalty-free samples for use in music productions, subject to the Tuesday Samples license terms.

Sources & Further Reading

• Mixdown — Gear Rundown: LCD Soundsystem — Details about James Murphy's instruments, acoustic drums, and electronic percussion equipment.

• Todd Terje — James Murphy Interview (2011) — Murphy's firsthand explanation of his drum recording techniques, microphone setup, drum dampening, and gain staging.