How to Sound Like Chris Turner — Drum Gear & Setup Guide | MetalForge
Replicate Chris Turner's Oceans Ate Alaska drum sound. Gear list, settings, and technique tips to get that signature tone.
Frequently Asked Questions
What makes Chris Turner's drumming style unique?
Turner's defining trait is compositional discipline applied to extreme technical complexity. His polyrhythmic kick superimposition layers independent subdivisions beneath a locked backbeat, his double bass is trained for velocity evenness between both feet, and his blast beats are deployed as precise phrase-boundary punctuation rather than sustained intensity. Every technical element serves the song rather than showcasing technique for its own sake.
What drums and cymbals does Chris Turner use?
Turner plays a Tama Starclassic Maple/Birch kit with a Tama S.L.P. G-Maple snare for fast attack. His cymbals are Meinl Byzance, with Extra Dry crashes and china for immediate attack and minimal sustain, plus dual-configuration hi-hats and ride for tonal versatility. He uses a Tama Speed Cobra 910 double pedal and Vic Firth American Classic 5A sticks.
How do I get the Oceans Ate Alaska drum sound?
Tune the kick tight and controlled so fast polyrhythmic subdivisions stay defined, keep the snare fast-attack with minimal muffling for ghost-note clarity, and use Extra Dry-voiced crash cymbals for precise accent placement. Most importantly, build every complex pattern from a rock-solid backbeat first — Turner's complexity is layered on top of stability, never instead of it.
What Oceans Ate Alaska albums should I study for drumming?
Hikari (2017) is the essential starting point — 'Hansha' for polyrhythmic kick independence and 'Escapist' for double bass evenness. Disparity (2022) is more mathcore-influenced and technically demanding, especially 'Metamorph,' which navigates 4/4, 7/8, and 5/4 with compositional blast placement.
How does Chris Turner develop such precise double bass control?
Turner's approach centers on training both feet to identical velocity and timing rather than relying on a dominant foot. Recording single-foot patterns and comparing them side by side reveals imbalances that aren't audible while playing. Isolating and drilling the weaker foot daily, then reintegrating it into full patterns, is the core of building this kind of evenness.