# White Pony Drum Setup: Abe Cunningham's Atmospheric Masterpiece

> Discover the exact drum kit, cymbals, and gear Abe Cunningham used to record Deftones' genre-defining White Pony album. Complete setup breakdown with recording techniques and track analysis.

**Type:** Album Drum Setup
**Drummer(s):** [Abe Cunningham](/llms/drummers/abe-cunningham.md)
**Band / Album:** Deftones — *White Pony* (2000)
**Genre:** Alternative Metal / Shoegaze Metal

## Overview

Released on June 20, 2000, "White Pony" transformed Deftones from a nu-metal band into architects of their own genre. The album's groundbreaking fusion of crushing heaviness, shoegaze atmospherics, and electronic textures created a blueprint that bands still follow today. At the heart of this sonic revolution was Abe Cunningham's drumming — understated, intuitive, and perfectly calibrated to serve each song's emotional arc.

Unlike their raw debut "Adrenaline" or the aggressive "Around the Fur," White Pony demanded restraint and dynamics. Cunningham responded by stripping away flashy fills and constant double bass, replacing them with grooves that breathed and moments of silence that hit harder than any blast beat.

Recorded primarily at Village Recorder and Sunset Sound in Los Angeles with producer Terry Date (Pantera, Soundgarden), the album sessions stretched over months as the band experimented with sounds they'd never tried before. Songs like "Digital Bath" featured electronic drums alongside acoustic kit. "Knife Prty" layered walls of ambient guitar. And "Change (In the House of Flies)" became an unexpected radio hit thanks to its hypnotic groove and haunting dynamics.

The album earned Deftones a Grammy for Best Metal Performance ("Elite") and has since been recognized as a landmark in heavy music — a rare record that pushed boundaries while connecting with a massive audience. White Pony proved that heaviness isn't about volume; it's about impact. And Abe Cunningham's drumming was the heartbeat of that revolution.

This article explores the gear Abe used during the White Pony sessions, the techniques that defined its sound, and what made this album a turning point for alternative metal drumming.

## Gear Breakdown

- **Drums:** Tama Tama Starclassic Maple (Custom Finish (varied during sessions) finish)
- **Snare:** Tama Tama S.L.P. Big Black Steel (or equivalent deep steel snare), 14" x 6.5" to 14" x 8"
- **Cymbals:** Zildjian — Zildjian A / K Series
- **Hardware / Pedals:** Tama Iron Cobra Single Pedal; Tama Iron Cobra Hi-Hat Stand; Tama 1st Chair; Zildjian 5A (or similar)
- **Heads:** Remo Ambassador Coated (batter), Remo Ambassador Snare Side (resonant)
- **Snare tuning:** Medium-low for atmosphere, medium-high for aggression

### Abe's White Pony Era Kit: Tama Starclassic

For the White Pony sessions, Abe Cunningham relied on his Tama Starclassic Maple kit — a setup that provided the warmth and punch needed for the album's genre-defying sound. The all-maple construction delivered a rounded, musical tone that recorded beautifully and complemented Chino Moreno's atmospheric vocal approach.

The kit configuration was relatively compact by metal standards: a single 22" bass drum, two rack toms, and two floor toms. This minimal setup reflected Abe's philosophy — he doesn't need twenty drums to create interesting parts. Instead, he maximizes each piece's potential through creative patterns and dynamic control.

Producer Terry Date positioned the kit carefully within the studio's live room, capturing natural room ambience alongside close mics. This "live" approach contributed to White Pony's organic feel, distinguishing it from the highly processed drum sounds common in late-90s heavy music.

The 22" x 18" bass drum provided deep, controlled low-end without the overpowering boom of larger kick drums. For a record that frequently dropped to near-silence before exploding, this articulate bass drum allowed every note to be felt without muddying the mix.

During sessions for certain tracks, Abe also used triggered samples and electronic drums layered with his acoustic kit. Songs like "Digital Bath" feature hybrid drumming that blends programmed elements with live performance — innovative for 2000 and influential for decades to come.

### The Backbone: Deep, Dark Snare Sound

White Pony's snare sound is distinctive — deep, dark, with controlled overtones that sit perfectly in the mix without fighting the atmospheric guitars. Abe experimented with several snares during the sessions, settling on deeper drums that provided body and thump rather than the typical bright, cutting metal snare sound.

The primary snare used was a deep steel drum (ranging from 6.5" to 8" depending on the track), which provided the weight needed for songs like "Change (In the House of Flies)" and "Digital Bath." The deeper shell gave each backbeat a sense of gravity that anchored the swirling textures around it.

Terry Date's drum engineering was crucial to the snare sound. Rather than cranking top-end presence, he let the drum's natural tone speak, using minimal EQ and careful mic placement. The result was a snare that felt real — you can hear the stick impact, the head resonance, the snare wire response.

For heavier tracks like "Elite" and "Korea," the snare was tuned higher and hit harder, delivering the aggressive crack the songs demanded. This dynamic approach to tuning — adjusting for each song's needs rather than keeping one "perfect" setting — exemplified the album's attention to detail.

### Zildjian Dark and Musical

Abe's cymbal selection for White Pony leaned toward darker, more complex sounds than typical metal setups. The use of K series cymbals — with their dry, trashy overtones — contributed to the album's textured, atmospheric quality.

The 14" New Beat hi-hats anchored most of the album's rhythms, providing clarity and definition even during the quietest passages. Abe's hi-hat work on White Pony is particularly noteworthy — he often plays open patterns during verses, creating space and air that conventional closed hi-hat grooves wouldn't allow.

The K Custom Dark Ride became essential to the White Pony sound. Rather than the piercing ping of traditional metal rides, this cymbal offered complex wash and subtle stick definition. Listen to "Digital Bath" — the ride work is integral to the song's hypnotic quality.

For crashes, Abe used A Custom and K series cymbals, prioritizing musicality over volume. The crashes on White Pony don't overwhelm; they punctuate. Terry Date's production captured the cymbals' full frequency range without harshness, allowing them to blend into the mix rather than dominate.

The China cymbal appears sparingly but effectively, adding aggression to key moments in "Elite" and other heavy tracks. Its controlled use exemplifies White Pony's philosophy: everything serves the song.

## Key Facts

- Recorded 1999-2000 at Village Recorder, Sunset Sound, and The Shop (LA)
- Producer Terry Date captured dynamics rarely heard in heavy music
- Grammy win for "Elite" (Best Metal Performance 2001)
- Blended live drums with electronic programming and triggered samples
- Established the "atmospheric metal" sound that influenced countless bands
- Abe's restraint and groove-focused approach defined the album's feel
- Tama Starclassic Maple — warm, punchy, articulate
- Single 22" bass drum for controlled low-end
- Compact configuration focused on groove over flash
- Room mics captured natural ambience
- Hybrid acoustic/electronic approach on several tracks
- Estimated kit value: $3,000-5,000 (2000 Starclassic Maple shell pack)
- Estimated snare value: $300-500 (2000 era)

**Source:** https://metalforge.io/articles/white-pony-drum-setup

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*Last updated: 2026-06-16 · Source: [MetalForge.io](https://metalforge.io)*