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Post by christopher on Nov 21, 2018 11:14:40 GMT -6
I heard this Boston song the other day on the radio and I forgot just how much it makes me imagine a drummer playing on the drums. Even on a box-truck radio it sounds super real to me. It makes me imagine the cymbals swinging with each hit, something I never really experience anymore.
Do you guys ever get that same experience? Any examples I can study from?
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Post by Quint on Nov 21, 2018 11:21:26 GMT -6
I feel that way about the ride cymbal in this PJ song (Faithful). Actually, I feel that way about the drums in general on that entire album. Yield just sounds great.
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Post by Guitar on Nov 21, 2018 11:30:48 GMT -6
The whole In Rainbows album by Radiohead but in particular the song Reckoner. The ride cymbal changes half way through the song and it's this huge emotional breakthrough that comes with it... super creative production
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Deleted
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Post by Deleted on Nov 21, 2018 11:49:01 GMT -6
First couple of Police lp's and Dave Brubeck Take five.
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Post by Ward on Nov 21, 2018 12:15:41 GMT -6
Want a great ride cymbal recording? Use a DARK ride, like a ZIldjian K dark 20" or bigger, Neumann TLM102 as the spot mic into a clean preamp with TONS of headroom.
In the old days, (i felt like typing 'olden days' like my gramps would say) drummers would often just put gaffer or duct tape on a ride to control the brightness and decay
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Post by Guitar on Nov 21, 2018 12:45:38 GMT -6
Any of this Blue Note jazz stuff from the 50's and 60's with Rudy Van Gelder engineering is incredible. I'm just astounded at how clear the cymbals sound because it was made so long ago when gear wasn't as "clean."
Just incredible clarity on those records, I'm not sure which one to recommend.
I've been working through the Blue Note 75th Anniversary collection there are 75 separate albums remastered in 24 192.
It's making me rethink my production a little bit.
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Post by svart on Nov 21, 2018 21:55:14 GMT -6
Those are fairly thin from the bell to the edge and patina'd.
Mic placement is key to get that sounds as well.
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Post by Johnkenn on Nov 22, 2018 1:01:16 GMT -6
I heard this Boston song the other day on the radio and I forgot just how much it makes me imagine a drummer playing on the drums. Even on a box-truck radio it sounds super real to me. It makes me imagine the cymbals swinging with each hit, something I never really experience anymore. Do you guys ever get that same experience? Any examples I can study from? That is soooo weird. I saw the title and was going to post this Boston song. |
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Post by javamad on Nov 22, 2018 6:33:33 GMT -6
Want a great ride cymbal recording? Use a DARK ride, like a ZIldjian K dark 20" or bigger, Neumann TLM102 as the spot mic into a clean preamp with TONS of headroom. In the old days, (i felt like typing 'olden days' like my gramps would say) drummers would often just put gaffer or duct tape on a ride to control the brightness and decay Nice one ... I have those .., I will try it next week (have the drums taken down right now for a jazz session coming in a couple of days with their own kit) |
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Post by jeremygillespie on Nov 22, 2018 7:24:54 GMT -6
Want a great ride cymbal recording? Use a DARK ride, like a ZIldjian K dark 20" or bigger, Neumann TLM102 as the spot mic into a clean preamp with TONS of headroom. In the old days, (i felt like typing 'olden days' like my gramps would say) drummers would often just put gaffer or duct tape on a ride to control the brightness and decay This gave me a chuckle - I did a record with Warren Haynes 3 or 4 years ago and everything was live. We were set up for about a month, and to complicate things, there was a constant in and out of different players, but I wanted to keep the same basic setup for the main band, so I just kept adding mics and little stations for people to play or sing at. On one of the days the main backing band’s drummer and bass player couldn’t make it, so Warren called up and got Oteil to play bass and Marc Quiñones to play drums and percussion for the day. The main drummer played open handed with his ride cymbal above his hihat, so we had to switch the cymbal to the other side, but I didn’t really want to move my mics. I go to the mic closet and have 3 mics left to pick from. And they were all TLM102’s that I never use. So I shrugged my shoulders and threw one up on a stand (a crappy stand by the way, we were out of good ones at that point too). Patch it into a GML, get a level, and we start tracking. GREAT cymbal sound! I had never thought to use those mics but man that’s a great application for them. Side note - halfway through the 3rd take of the song, which would ultimately be the keeper take, I look through the glass and see the mic seriously sagging the stand down. It had moved maybe 2” over the course of 5 mins, and I didn’t want to stop the take cause it really was sounding bitchin. Marc was kind of giving me side eye in the “wtf we gonna do about this” sort of way, so I crept into the room and held the boom arm up for the rest of the song. We got a good laugh out of that. Anyway, great mic, I’m pretty sure the ride was my dark K 20”. His playing is pretty fantastic I’m sure he could make anything sound great though. |
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Post by Ward on Nov 22, 2018 7:31:06 GMT -6
Want a great ride cymbal recording? Use a DARK ride, like a ZIldjian K dark 20" or bigger, Neumann TLM102 as the spot mic into a clean preamp with TONS of headroom. In the old days, (i felt like typing 'olden days' like my gramps would say) drummers would often just put gaffer or duct tape on a ride to control the brightness and decay This gave me a chuckle - I did a record with Warren Haynes 3 or 4 years ago and everything was live. We were set up for about a month, and to complicate things, there was a constant in and out of different players, but I wanted to keep the same basic setup for the main band, so I just kept adding mics and little stations for people to play or sing at. On one of the days the main backing band’s drummer and bass player couldn’t make it, so Warren called up and got Oteil to play bass and Marc Quiñones to play drums and percussion for the day. The main drummer played open handed with his ride cymbal above his hihat, so we had to switch the cymbal to the other side, but I didn’t really want to move my mics. I go to the mic closet and have 3 mics left to pick from. And they were all TLM102’s that I never use. So I shrugged my shoulders and threw one up on a stand (a crappy stand by the way, we were out of good ones at that point too). Patch it into a GML, get a level, and we start tracking. GREAT cymbal sound! I had never thought to use those mics but man that’s a great application for them. Side note - halfway through the 3rd take of the song, which would ultimately be the keeper take, I look through the glass and see the mic seriously sagging the stand down. It had moved maybe 2” over the course of 5 mins, and I didn’t want to stop the take cause it really was sounding bitchin. Marc was kind of giving me side eye in the “wtf we gonna do about this” sort of way, so I crept into the room and held the boom arm up for the rest of the song. We got a good laugh out of that. Anyway, great mic, I’m pretty sure the ride was my dark K 20”. His playing is pretty fantastic I’m sure he could make anything sound great though. It shouldn't but it still makes me chuckle how so many of us end up coming to the same conclusions on the same pieces of kit!! LOL |
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Post by bigbone on Nov 22, 2018 8:45:11 GMT -6
Any of this Blue Note jazz stuff from the 50's and 60's with Rudy Van Gelder engineering is incredible. I'm just astounded at how clear the cymbals sound because it was made so long ago when gear wasn't as "clean." Just incredible clarity on those records, I'm not sure which one to recommend. I've been working through the Blue Note 75th Anniversary collection there are 75 separate albums remastered in 24 192. It's making me rethink my production a little bit. Don't forget that those record were made with the greatest musician in jazz history, Elvin, Max.Tony, Joe were among the best payers and know for there touch on the cymbals.!!!!! |
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Post by michaelcleary on Nov 22, 2018 10:59:31 GMT -6
Can’t you hear me knocking by the stones has one of my all time fav drum sounds. The jam at the end has a great ride sound.
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Post by christopher on Dec 1, 2018 20:19:10 GMT -6
I just wanted to say thanks for great suggestions!
I’m wondering if I should start doing to ride spot mic again? Next time I think I’ll try it. How much time do you budget for something like that? Is it just put the mic up and hope for the best, or do you spend 10-15 minutes checking phase, adjust position etc? I tend to have anxious drummers wanting to get going, I always feel like I’m rushing during drum micing. Maybe that’s another topic..
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ollie
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Post by ollie on Dec 1, 2018 23:26:58 GMT -6
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Post by Mister Chase on Dec 2, 2018 1:10:47 GMT -6
I like the sounds on Beck's Sea Change album. Lonesome Tears track.
Ton's of jazz tracks. Miles Kind of Blue has good ride sounds. Lots of Dave Matthews Band stuff with Carter Beauford using that flat ride with no bell was pretty sweet.
#41 comes to mind. Miss playing that track on the kit. It seems to me I've heard some others that wow'd me like crazy. I just can't remember what they were at the moment.
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Post by theshea on Dec 2, 2018 2:48:05 GMT -6
The whole In Rainbows album by Radiohead but in particular the song Reckoner. The ride cymbal changes half way through the song and it's this huge emotional breakthrough that comes with it... super creative production I LOVE that album and track! Wonderful vibes! i never use a ride spot mic as my right overhead mic most of the time covers that pretty good. And i am a less is more guy when it comes to drum micing. But i think i will try a ride spot mic in the future. i use gaffer tape and clothes all the time to shorten or darken the ride though. |
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Post by jeremygillespie on Dec 2, 2018 15:08:28 GMT -6
I just wanted to say thanks for great suggestions! I’m wondering if I should start doing to ride spot mic again? Next time I think I’ll try it. How much time do you budget for something like that? Is it just put the mic up and hope for the best, or do you spend 10-15 minutes checking phase, adjust position etc? I tend to have anxious drummers wanting to get going, I always feel like I’m rushing during drum micing. Maybe that’s another topic.. I have a buddy that I came up with, when he tracks drums, he calls me in to tune up the kits. We get the drummer in, I change the heads and get a general tuning going. Then we have the drummer set up how they are comfortable and listen to them play for 5 mins. Then tell them to go get lunch for an hour. I’ll do my best to hit how the drummer was hitting so my buddy can get sounds. The drummer doesn’t get tired, they don’t get annoyed with how long it takes to get the kit sounding great, and they are fresh and energetic for the rest of the day. I’d suggest doing that. If you’re putting a mic up and hoping for the best, you’re going to spend a ton of time later trying to make it work. Or doing heavy repair work to the sound of that mic and then dealing with fitting it in somehow. Doesn’t seem like a good starting point. |
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