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permanent hearing damage
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Post by permanent hearing damage » Thu Apr 01, 2010 1:06 pm

any secrets to share, drumsound?

Chris_Meck
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Post by Chris_Meck » Thu Apr 01, 2010 1:26 pm

ever try reamping the bass to an amp through a big muff pedal? Bring it back on another track, blend it in to taste. It won't have as much low end, but adds bite and fizz. That works sometimes.

just my .02

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casacassette
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Post by casacassette » Fri Apr 02, 2010 6:51 am

On mixdown, make another mix to a casette deck, record way into the red without NR, line the mixes up ITB and mix to taste. You can go from a little grit to over the top garage...Hermann

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dubh dubh dubh
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Post by dubh dubh dubh » Sat Apr 03, 2010 12:59 pm

i think the sound of Pinkerton is JJ Puig (the mixer)really driving/compressing the drum & room mics hard...
I did an early tune for the Gossip and it was a similar request : less clean, please! It ended up with some of the previous suggestions made: tracked to 1" 16tk, mono room mic through a tape echo, level pinned and never moved, parallel drum compression with a sony cassette deck & TL tube compressor(overdriven more), sync'd up in pro tools, handclaps de-tuned & through a big muff..
jeez my last two posts reference running stuff through big muff pedals, same one I've had since '92 or something,,, whenever the 1st extra-dysfunctional russian-built ones came out...
...the mastering guy on that song luckily 'got' what they were wanting, rather than telling me to leave and never come back :)
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drumsound
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Post by drumsound » Sat Apr 03, 2010 1:36 pm

permanent hearing damage wrote:any secrets to share, drumsound?
I just know about Fridman from what I've read and heard him say at TapeOpCon. I know he has an Otari MTR90 which are pretty know for being clean and sometime bland or clinical sounding. I know he likes the VLA and maybe even the MPA from ART. The MPA makes a great rack distortion box. I think I may put mine back in the rack soon. A lot of DF's drum distortion seems to come from input to me. Drive the mic amp and record that. I think the bass is distorted before the mic or DI when it is distorted,

If you'd like to know some of my tricks, just lit me know.

mr.adambeck
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Post by mr.adambeck » Tue Apr 06, 2010 11:26 pm

I'd love to hear your own tricks, drumsound.

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Post by LowG » Wed Apr 07, 2010 2:15 pm

I've been having fun using the SSL Listen Mic Compressor plug-in that's up for free on their website.

I also get dirt by pushing hard on my Ramsa mixer's inputs.

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Post by drumsound » Thu Apr 08, 2010 1:29 pm

mr.adambeck wrote:I'd love to hear your own tricks, drumsound.
I really like a mic over the BD pointed at the snare and distorted.

Cheap little mics are great for vocal color, it doesn't even matter what it is, you can put it next to the 'real' mic or do a double with it. Sometimes use the odd one for the effects send.

Smashing the shit out of a compressor and boosting a lot of the midrange while cutting the low and used a parallel can help drive a tune and make the bass sound both unique and also have definition on small systems.

Mic the electric guitar like an acoustic while it's playing through an amp, there are all kinds of uses for that sound. If the amp is at low volume you'll just add some good attack to the sound, if the amo is loud you can also get interesting off axis sound that might dirty things up in a much different way than more distortion.

Fast attack and release times on some compressors will add a weird crunch.

Extreme EQ can seem like subtle, but super cool distortion.

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greatmagnet
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Post by greatmagnet » Mon Apr 26, 2010 3:43 pm

drumsound wrote: I just know about Fridman from what I've read and heard him say at TapeOpCon. I know he has an Otari MTR90 which are pretty know for being clean and sometime bland or clinical sounding.
...which just so happens to be the same tape machine that Sharkbite has as well. Although I'm not sure if Mr. Beck stated whether his project was actually recorded to tape or digital. Either path could lead to overt cleanliness to be sure.

It should also be said on the Plug-ins side of things that running the tracks through the guitar amp simulator plugs like Nigel or whatever can get things dirt in a fast and un-subtle way. Your fave vintage tube guitar amp is basically overdriving and compressing at the same time without to much coaxing, so it makes sense that the plug-in versions could be helpful for this kinda thing. You could event try them with the speaker emulation disarmed and see if that's better or worse.
"All energy flows in accordance with the whims of the great Magnet"
?Raoul Duke
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Marc Alan Goodman
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Post by Marc Alan Goodman » Tue Apr 27, 2010 8:42 am

Yeah, the really nasty part of "the woods" doesn't seem to be the distortion as much as the CRAZILY TIMED buss compression. The whole mix pumps on some of those songs. And yes, that record sounds nuts.

Pinkerton always seemed to be more about tonal choices to me.

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