# Diabolus in Musica Drum Setup: Slayer's 1998 Drop-Tuned Album Gear Breakdown

> Released in 1998, Slayer's Diabolus in Musica sparked controversy with its D-flat tuning and groove metal direction. Complete gear breakdown of Paul Bostaph's DW Collector's Series kit, Zildjian A Custom cymbals, and the Toby Wright production at The Hook, Richmond, CA.

**Type:** Album Drum Setup
**Drummer(s):** Paul Bostaph (Slayer's drummer 1992-2001 and 2013-2019)
**Band / Album:** Slayer — *Diabolus in Musica* (1998)
**Genre:** Thrash Metal
**Label:** American Recordings

## Overview

Released on June 9, 1998, Slayer's Diabolus in Musica arrived into a metal landscape actively hostile to it. Grunge had faded, nu-metal was ascendant, and the traditional thrash metal Slayer had helped define was struggling for commercial relevance. The band's response was to drop the guitar tuning to D-flat — two and a half steps below standard — and embrace a denser, more groove-oriented production aesthetic. The reaction from long-time fans was immediate and often brutal. Many heard it as Slayer chasing Pantera and Korn's commercial success at the expense of their identity.

From a drummer's perspective, Diabolus in Musica documents Paul Bostaph in a gear configuration distinct from both the earlier Slayer sound and the kit he used on God Hates Us All three years later. Bostaph recorded the album using DW Collector's Series shells — the American-made all-maple premium line — paired with Zildjian A Custom cymbals, a brighter, more controlled sound than the Paiste 2002 and RUDE cymbals of the classic Slayer records. Producer Toby Wright recorded the sessions at The Hook in Richmond, California, bringing a denser, more layered approach than Rick Rubin's classic stripped-down Slayer aesthetic.

Commercially, Diabolus in Musica reached #31 on the Billboard 200 — Slayer's highest US chart position at the time, subsequently beaten only by God Hates Us All's #28 in 2001. More than two decades later, the album is regularly cited as Slayer's most underrated record, having benefited from reassessment once the nu-metal era that triggered the original controversy became historical context itself.

## Gear Breakdown

- **Drums:** DW Collector's Series Maple (Lacquer Black) — 22"x18" bass drums (x2), 10"x8" and 12"x9" rack toms, 16"x14" and 18"x16" floor toms
- **Snare:** DW Collector's Steel, 14"x6.5"
- **Cymbals:** Zildjian A Custom — 14" Hi-Hats, 16" and 18" Crashes, 20" Ride, 18" China
- **Hardware / Pedals:** DW 5002 Double Bass Drum Pedal (x2), DW 5500 Hi-Hat Stand, DW 9100 Round Rider Throne, Vater Power 5B sticks
- **Heads:** Remo Powerstroke 3 (kick batter), Remo Emperor Clear (toms), Remo Emperor Coated (snare batter)
- **Snare tuning:** Medium-high tension for cutting attack with steel brightness

### The 1998 Slayer Kit: DW Collector's Series Maple

The drum kit on Diabolus in Musica was built around DW's Collector's Series Maple — the American-made premium shell series DW established as their flagship through the 1990s. The all-maple construction delivered a warm, resonant tone with a pronounced fundamental that translated well through Toby Wright's layered production. The double 22x18 bass drum configuration maintained the Slayer tradition of twin kicks — present throughout the band's history regardless of drummer. The 18-inch shell depth gave the bass drums sustained, resonant low-end suited to the album's D-flat tuning context.

### The 1998 Crack: 14x6.5 DW Steel Snare

The snare on Diabolus in Musica was a 14x6.5 DW Collector's steel-shell — the standard dimensions for thrash metal of the era. Steel construction gives the snare the cutting, metallic crack Slayer's material requires. The D-flat guitar tuning occupies a lower frequency range than standard-tuned metal, creating a natural midrange gap where the steel snare's crack can sit without competing for space. The result is a snare presence that maintains clarity and definition throughout the denser, heavier production.

### Zildjian A Custom: A New Chapter in the Slayer Cymbal Story

The Zildjian A Custom setup on Diabolus in Musica represents a departure from the Paiste-centric sound of earlier Slayer records — and from the Paiste 2002/Signature setup Bostaph would use on God Hates Us All three years later. The A Custom line was designed for a brighter, cleaner sound with more shimmer and definition in the upper frequencies than the A series. For the groove-oriented sections of Diabolus, the A Custom's cleaner attack suited the rhythmic context better than a more aggressive Paiste would have. The 20" A Custom Ride gave the album a defined bell character with a clear fundamental that cuts through heavy guitar frequencies without requiring excess force.

## Key Facts

- Released June 9, 1998 — Slayer's most controversial album, dropped to D-flat tuning
- Recorded at The Hook, Richmond, CA with producer Toby Wright (Alice in Chains' Dirt engineer)
- Paul Bostaph's second studio album with Slayer, first tenure (1992-2001)
- Dave Lombardo did NOT play on this album — Lombardo returned on Christ Illusion (2006)
- DW Collector's Series Maple shells with Zildjian A Custom cymbals — distinct from both neighboring Slayer albums
- Peaked at #31 on the Billboard 200 — Slayer's highest US chart position at time of release
- RIAA Gold certification
- Fills the arc gap between Divine Intervention (1994) and God Hates Us All (2001)
- "Bitter Peace" and "In the Name of God" are the lead tracks most cited in discussion of this album
- Estimated kit value: $3,500-5,000 (1998)
- Estimated snare value: $350-550 (1998)

## FAQ

**Q: What is Slayer's Diabolus in Musica?**
Diabolus in Musica is Slayer's seventh studio album, released June 9, 1998 by American Recordings. The album is Slayer's most controversial record, notable for dropping the guitar tuning to D-flat and incorporating a more groove-oriented, mid-paced approach than the classic thrash template. Produced by Toby Wright at The Hook in Richmond, California, it was accused of chasing nu-metal commercial success. Subsequent critical reassessment has recognized it as a legitimate evolution of the band's sound, and it is frequently cited as Slayer's most underrated album.

**Q: Who played drums on Diabolus in Musica?**
Paul Bostaph played drums on Diabolus in Musica (1998). Bostaph was in his first tenure with Slayer (1992-2001), following Dave Lombardo's departure after Seasons in the Abyss (1990). Bostaph recorded four studio albums with Slayer during this period: Divine Intervention (1994), Undisputed Attitude (1996), Diabolus in Musica (1998), and God Hates Us All (2001). Dave Lombardo did not drum on Diabolus in Musica — he did not return to Slayer until Christ Illusion in 2006.

**Q: What tuning does Slayer use on Diabolus in Musica?**
Slayer tuned down to D-flat (Db) on Diabolus in Musica — two and a half steps below standard E tuning. This was the most controversial production decision on the album; all previous Slayer studio albums had been in standard tuning. The D-flat tuning gave the album its dense, heavy low-end character but contributed to the perception that Slayer was following nu-metal trends. The tuning change did not affect the drums directly, but it influenced kick drum and floor tom frequency balance — the DW Collector's Series deeper shells were well-suited to occupying the same low-frequency range as the downtuned guitars.

**Q: Who produced Diabolus in Musica?**
Diabolus in Musica was produced by Toby Wright, known for his engineering on Alice in Chains' Dirt (1992) and production on Mad Season's Above (1995). The album was recorded at The Hook studio in Richmond, California. Wright's approach was denser and more layered than Rick Rubin's classic stripped-down Slayer aesthetic. God Hates Us All (2001) and Repentless (2015) used different producers.

**Q: How did Diabolus in Musica chart commercially?**
Diabolus in Musica peaked at #31 on the Billboard 200 — Slayer's highest US chart position at the time, surpassing all previous Slayer albums. The album was certified Gold by the RIAA. Despite mixed reception at release, commercial performance proved the controversial direction did not alienate the core audience. God Hates Us All (2001) later improved on this, reaching #28 on the Billboard 200.

**Source:** https://metalforge.io/articles/diabolus-in-musica-drum-setup

**More LLM resources:** [Site index](/llms.txt) · [Full database](/llms-full.txt) · [Master FAQ](/llms/faq.md) · [Drummer index](/llms/index.md)

*Last updated: 2026-06-29 · Source: [MetalForge.io](https://metalforge.io)*