Casket Lottery "Choose Bronze" drum recording.

[sheridanrock]

first off This whole CD sounds great!! But I really really really love the drum sounds on it. Anyone out there have any idea how it was done (besides the fact that it's Ed Rose at Redhouse recording). I have not posted in sometime on here kinda wanted to jump back into it.

Steve Pierog

Spierog@sbcglobal.net

[Everybody's X]

Ed's on here every once in a while, but you could drop him an email at ed@blacklodgerecording.com
hes a pretty affable guy, from my limited discussions with him.

also red house has changed it's name to blacklodge and the website is herewww.blacklodgerecording.com

[sheridanrock]

Thanks man I'll do just that. I'm recording my record at my home, and I might feel weird asking him out of the blue how he mics drum kits though.

Steve P.

[onlyreason]

I'd say this room probably has a lot to do with those drum sounds, which I agree are pretty damn good.

[Everybody's X]

a hell of a lot of great albums were recorded in that room

[nlmd311]

I'd say this room probably has a lot to do with those drum sounds, which I agree are pretty damn good.

wow. My mouth just dropped open when I saw that picture. That is incredible. Can you imagine the possibilities of that room?

I don't know this recording, but the band is amazing! Now I have to go check it out. What else has been done in this room? I love to be able to place some sounds with sights.

-Darrill

[nlmd311]

damn.
Sorry to double post, but I am totally taken in by this. Can you imagine putting some mics up in the rafters. What is that, like a good 20-25 feet? That would have to provide some great diffusion, not to mention if you had a whole band playing in the room would provide for a really cool room mic(s).

!!!!!!!!
cool.

-Darrill

[inverseroom]

It instantly reminded me of this room:

[Everybody's X]

the get up kids stuff is recorded there, puddle of mudd cut their first independent release there, Kill Creek, Stick, PAW, a lot of cool lawrence KS stuff in the 90's



the room is cheap too. those guys would love for you to come play around in that room

[spankenstein]

Only the latest Get Up Kids album was recorded there. They also bought it so that makes sense. That's definitely a good sounding room. A band I was in for a while did a recording out there. I never heard from them again and never heard the recording but being in the room it sounded really good.

[puffpastry]

I think it's great how many people there are out there that have an admiration for Ed's work, but I always wonder why there aren't more. I interned under him in the mid 90's, and had the privilege of learning such a wealth of information from him, not to mention being able to count him as a friend. I have buddies who played in The Blamed, Roadside Monument, etc. that are always drooling about the wonderful recordings Ed has done, and how much they wish they could have worked with him...I seriously think he deserves a place alongside Albini as an engineer/producer, and wonder why he hasn't been interviewed in TapeOp yet.

[Everybody's X]

Ed's work on the album Migraine by a band called Sacrifice Isaac, has the most killer bass sounds ever, Heavy Bag by Stick sounded awesome too, thick heavy shit

[sheridanrock]

Wow thanks guys for all your help and pictures...I knew that it was a cool studio, but now it's my desk top wallpaper. Anyway I agree with Ed being up alongside Albini!! Lets not forget Appleseed cast stuff he worked on...great sounds there as well. This post got way more than I thought it would. This is so cool thanks again guys!!
Steve P.

[puffpastry]

Anyone out there have any idea how it was done?

I just realized that you asked a question that I might be able to answer...
When I worked with Ed, the way we would get drum sounds had a lot to do
with the room, definitely. I think the routine I would generally follow (he may have changed this a bit--it's been nearly ten years) when mic'ing the kit was to use 57 on snare, 421 on toms and kick, Coles 4031's as overheads, an SM87 on the hi hat, and Crown PZM's or an LD condensor as a room mic--I think it was an AT, but I don't remember for sure. He spent a great deal of time getting sounds EQ'ed prior to going to tape, and would often use a touch of compression and echo for effects. At that time we used an MS-16 and a Tascam 3500 console or something like that. These days, it's an Amek Big console and he tracks mostly to PT.

One thing I learned from Ed was the principle of running the quietest amplifier in your signal chain the hottest. I remember once we did a demo for this band from Tuscon who were somewhat pissed when they arrived for the session--they had no idea we were tracking through a Tascam console because Ed was so adept at using the strong points of his signal chain to compensate for that console's weaknesses.

Last time I spoke with Ed, he talked about his interest in using the Marshall 603S as a snare mic (he sent one to me to mod with a HPF and 20dB pad) because he liked its sound. I haven't finished that mod yet (it's waiting on my bench due to a work overload), but hopefully soon...

[j_howell]

Ed Rose fucking rules. Way back in the day, when I was first becoming interested in recording at all, and lived in the middle of nowhere in SE Kansas, I wrote to Ed to ask a bunch of pretty dumb questions, and not only did he take the time to write back, his advice was really honest, realistic and generally cool. Ed has done SO many great records...besides the stuff metioned above, I really especially love this Black Calvin 7" he did, even though it's not the most hi-fi, thick thing he ever did. I definitely agree, Ed really should get more props for being the badass he really is. Anyone who disagrees should really listen to Means to an End.