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I had a band that wanted to do a record like that... so, much to my chagrin... we did a fast and dirty demo of the song [several takes] then picked which section felt best from the various takes... and then created a percussion loop that changed time signatures, tempos, etc. The band tracked to the ...

The biggest bitch of punching drums is cymbal decay... if the heads are good on the analog deck it's generally preferable to pull out Mr. Razor Blade and cut a couple of takes together... but with a good deck like a JH-24; MTR-90; A-800/820/827 you can often get away with a punch. One of the few tim...

Depends on how you try to do it without a 're-amp' box. If you're talking about turning around a transformer based DI, then no... no problem. If you're talking about coming out of the aux output of your console into a guitar amp... chances are it'll be noisy as hell and probably sound 1/2 like ass a...

drumsound wrote:AT TapeOpCon last year Cosimo Matassa said he used a U47 with Little Richard at J&M in New Orleans.

That was 2 years ago.

Golly... I did a workshop in the "Pot Luck Studio" on '3 mic drum recording' at the last Tape Op Conference... if I wasn't banned from ever attending a Tape Op Conference ever again I would have been pleased to have done another workshop like that.

Oh well.

You might want to try a Transient Designer in front of a Lil Freq... knock some of the front end off with the T-D then filter the top/de-ess the clickiness [there is an option to put the de-esser in front of the EQ chain with the Lil Freq... so first you De-ess, then you EQ with the final aspect of ...

dwlb wrote:It is an object that confuses a drum.

...or drummer... like how to lay down a 'dribble snare' part while holding a "second line" groove together... that seems to baffle the shit out of 98% of the people I didn't hire for a session who think they can operate a drum kit... but I'm a snot.

It was quite common, especially in England, for Dolby A to have been employed on many a recording. In George Martin's book, "All You Need Is Ears" he mentions how they never quite got it aligned right for his taste in America... though many a record done at the Power Station in NYC [among a bazillio...

Whatever it takes to get the right sound for the song is what is done in my world... I really hate walking into a session with anykind of preconceptions about what is "right" or not "right"... all I care about is what serves the music or interferes with the musical statement.

That's called a "parallel patch"... it's done all the time. You can do it with other things besides snare. On a mix I put to bed earlier today I took the kik snare and toms and ran them through a compressor [smashed the snot out of them] and brought that back up on two additional channels. You could...

I'm in the middle of doing a live recording with Johnny A where we're recording all the guitars "direct"... well, they're all direct except for the mic I have on the stage that picks up the guitar sound regurgitated back to Johnny through the monitors and the room mics... but other than that it's al...

I've found Aquarian heads on the beater side tuned down relatively low with a white coated Ambassador head on the outside tuned to the note where you want the drum to sit works like a charm. One thing about 26's that I have found quite interesting is that with no hole in the outside head it's not to...

A transformer based DI can very often be used as a "re-amp" kind of thing... an active DI can not be used in that manner.

Spring reverbs can work on drums but it's usualy a good idea to run a peak limiter on the send to knock down the transients which can cause a "ping" kind of sound on the front end of the reverb. If you have the option of using a tape delay [pre-delay is usually good on drums!!] in front of spring re...

TapeOpLarry wrote:LOBBY
8pm The lobbyists

Why does that seem so damn appropriate?