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joel hamilton
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Post by joel hamilton » Wed Jul 11, 2007 7:07 am

Slider wrote:
joel hamilton wrote:
out of tune wrote:while were talking tom petty drum about that snare on You Don't Know How it Feels! damn. the whole wildflowers album really...
Totally. Wildflowers sounds really good to me every time. I dont even really like that record very much, but sonically I really like it. Has that perfect "everything is loud" feeling, and I dont mean the mastering... just everything sounds like it is meant to be there... mostly arrangement wise it is killer, and the engineering hangs well too...

Yeah nice sounding record.
Jim Scott, David Bianco, Richard Dodd.
Pretty awesome engineering lineup.
I think they dubbed, or didn't play cymbals on some tracks so they could crank up the room mics.
I worked with David Bianco right in the middle of that Wildflowers record. It won a Grammy for best engineered rock album or some shit. I specifically remember Rubin calling the studio asking how to set an 1176 to record vocals one night because there was no engineer there. lol
I use that record and lucinda williams "...on a gravel road" record when people think there is too much beater on the kick for a song that isnt heavy rock. There is SO much beater on the kick on those records, even in the "slow songs" and it sounds amazing.

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george martin
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Post by Slider » Thu Jul 12, 2007 10:47 am

I'm into that Lucinda record too. It sounds like they 1176'ed everything on the way in. My kind of record. lol

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Post by greatmagnet » Fri Jul 13, 2007 9:37 am

Catoogie wrote:And then there was the ?bleed? mic. When we were doing a rough vocal we noticed that Tom?s vocal mic was picking up some drums and giving it amazing sound overall. He was singing into the mic so we couldn?t use it, it would ruin it, so we put up another mic right near it. It was a SM58 or a 57, and put that on a separate track so we could mix that in. Sometimes we didn?t use it, but at other times it made a wonderful difference.
I've experienced this acccident myself recording a scratch vocal across the room with an SM57 eq'ed and compressed for the vocalist. The guy was across the other side of the studio from the drummer sitting on the steps leading up to the rear door of the studio which is wood.

The sound was fucking amazing and in following sessions I tried numerous "fancified" versions of this setup for a room mic: "fancified" generally meaning attempting the same thing but with a stereo pair of ldcs or a ribbons in other areas of the room, but they just never sounded quite as lively as the single 57 pointing right at the back door (and phase-reversed). So ghetto as that is it seems to be the way to go for my room.
"All energy flows in accordance with the whims of the great Magnet"
?Raoul Duke

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