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drumsound
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Post by drumsound » Tue May 18, 2010 1:39 pm

Recycled_Brains wrote:
cgarges wrote:That Gearslutz thing is kind of a bummer. They've had so many good guest moderators and I can understand a good bit of not rememberiing all of the Star Trek details, but with some of this stuff, it's like, "Oh come ON!"
Epic bummer, in this case.
Worst Guest Mod EVER!

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Post by drumsound » Tue May 18, 2010 1:40 pm

MoreSpaceEcho wrote:you know...i have a friend, coincidentally named nick, who's not really a drummer, but whenever he sits down at a kit it's instant nick mason. he somehow instinctively has that right hand thing DOWN.

anyway, i just wanted to say....if you sat me and CG down in front of a pair of speakers, put on a record and asked for our thoughts on the drums, i'd be like "yeah...those drums sound pretty good. nice ring on the snare..."

garges would be like "well, clearly that's a 1974 vistalite kit...orange....the snare is obviously a black beauty with puresound snares, both heads tuned pretty tight, coated ambassador on top with 9/16ths of a moongel on it. the kick is probably 24x14, batter head sounds like an emperor tuned pretty low, no front head. toms are 13x10 and 16x14, tuned to B and F#, respectively. sounds like the drums are about 5 feet in front of a brick wall in a 23x36 room. D12 on the kick, 57 on the snare, 460B's for overheads and 87's on the toms. sounds like 4038s for the room mics. drummer's playing with wood tip 2b's. he had two bowls of multigrain cheerios with hersheys chocolate milk for breakfast and had a fight with his wife before leaving for the studio. i think the cocaine the producer was snorting was 92.746% pure, but as we're listening to a remastered version of the original i can't quite tell. i'd have to dig up my vinyl copy to be sure...."
You're the fucking KING Scott. If you ever leave the TOMB, we're shutting it down. There will be not point to show up and read.

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Post by @?,*???&? » Tue May 18, 2010 2:18 pm

cgarges wrote:If you take a snare drum and tune it anywhere near what that record sounds like and play it quietly and mic it with a KM84 run through a soft-sounding pre (Trident, Neve, etc.) and don't compress it, you'll get that sound.
Trident and soft-sounding pre are not phrases I would use together. Hard, clear, open and in the case of A-Range modules, spanky or clanky would be words I would use to describe Trident pres.

Neve (1063, 1073, 1081) would qualify as soft though.

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Post by cgarges » Tue May 18, 2010 5:01 pm

You guys are TOO funny!

Scott, you should spend time with our old, long gone-from-the-TOMB buddy Dave Raphael. He can listen to a track and tell you what kind of capacitors were used to replace the stock one in one EQ out of 28 on a console. "Oh yeah, man, listen to that hi-hat track. Totally different sound on that one EQ." And he's got that within the first ten seconds of listening.
@?,*???&? wrote:Trident and soft-sounding pre are not phrases I would use together. Hard, clear, open and in the case of A-Range modules, spanky or clanky would be words I would use to describe Trident pres..
Seriously? I can't say that I've ever actually had my hands on a real A-Range module, but I've used plenty of Tridents in the past and I'm very familiar with their sound. Hell, I could tell you what a Trident sounds like just by listening to a few Tony Visconti records. That 10k is pretty unmistakable.

I think of them as kind of mushy-sounding, in the way that mushy-sounding British records sound terrific. Not dull, like many Neve modules. Definitely more open in the top end, but not hard-sounding at all to me. That output from Abbey Road when the TG consoles were in place sound very similiar to what Tridents sound like in my opinion. Of course, there are all the rumors about Dark Side having been recorded on a Trident (like the claim of those folks at the Knitting Factory), which as we know, are totally bogus. But I can see how someone who didn't know might make that kind of guess.

If you compare Tridents with pretty much ANYTHING else made in the 70s (especially anything made in America), I can't see how you could say that they're hard-sounding. API? Electrodyne? Spectrasonics? MAYBE MCI, but even that's kind of a stretch to me.

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Post by cgarges » Tue May 18, 2010 6:26 pm

tarblackvomit wrote:Even if you nail the exact gear, setup, room and tuning: I challenge any drummer alive to play even remotely like Nick Mason. To be able to play so quiet, so evenkeeled, and so nuanced at slow tempos without wavering, sounding bored or impatient, and always finding just the right elements of flair and fills... just, wow.

There's a guy here in town named David Kim. He goes by "D.K." He can TOTALLY play like Nick Mason without even trying. He's great at playing slow tempos, playign quietly, not playing stupid stuff, not overplaying, and playing with consistent tone. He's always kind of reminded me of Nick Mason and I've gotten to record him A BUNCH in the last four or five years. He's a real pleasure to work with.

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Post by tonewoods » Tue May 18, 2010 7:09 pm

DSOTM drums sound pretty damn cool, but have you groked the Floyd drum sounds on the recordings from 30 September, 1971 at BBC?s Paris Theatre, London UK?

Holy shitcakes... :shock:

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Post by T-rex » Tue May 18, 2010 7:39 pm

yeah I thought it was interesting he was moderating in order to push his line of videos? I haven't really dug through a lot of the guest moderator threads (except the Michael Brauer stuff, which I read over and over again) but I don't recall any of the other ones being like a talk show circuit where they drop by to push their latest movie/book/video series etc.?
[Asked whether his shades are prescription or just to look cool]
Guy: Well, I am the drummer.

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Post by cgarges » Tue May 18, 2010 8:18 pm

Tcahd Blake's was NOTHING like that. Neither was John Leckie's, although his answers were usually pretty brief.

Don't get me started on Bruce Swedien's.

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Post by losthighway » Tue May 18, 2010 8:48 pm

cgarges wrote:Tcahd Blake's was NOTHING like that.

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Yeah, I've been believing that Blake is one of the good ones. That's good to hear.

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what

Post by C_R_J » Wed May 19, 2010 1:31 am

what questions do you have about atom heart mother? im just curious.
time is money and im wasting both...

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Post by cgarges » Wed May 19, 2010 1:47 am

I just wanted to know the extent of his involvement, since both he and Peter Bown were credited as engineers. I also wanted to know if he had any specific memories of the sessions, especially given that that album was such a departure for them at the time. I also wanted to know what sort of things he learned from working with Peter Bown.

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Post by Recycled_Brains » Wed May 19, 2010 8:05 am

T-rex wrote:yeah I thought it was interesting he was moderating in order to push his line of videos?
True GS fashion I guess. Dude is fucking shameless though. It's so obvious.
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Post by jwnc » Wed May 19, 2010 10:13 am

Allen really seems like he didn't want to do it, I read 15-20 questions answered by him and learned virtually nothing that I didn't already know. Its like he gives 1 sentence answers with half hearted information in there.. I was like why are you here? oh yeah..to sell your new dvds it seems.

Jason

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Post by Recycled_Brains » Wed May 19, 2010 5:55 pm

losthighway wrote:
cgarges wrote:Tcahd Blake's was NOTHING like that.

Chris Garges
Charlotte, NC
Yeah, I've been believing that Blake is one of the good ones. That's good to hear.
Definitely worth reading thru. I learned a lot of cool stuff from Tchad's posts. If I ever win the lottery, I'll be sure to hire him to mix something for me.
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Post by KennyLusk » Thu May 20, 2010 11:15 am

MoreSpaceEcho wrote:man...garages...your ears are frightening.
Hands down that's no BS.

That's one reason I read every post from Chris.

The other reason is his last name. :skeptic: J/K
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