Quote:
Originally Posted by Jeff16years  so everyone talks about the Bonham drum sound (as they should) when it comes to rock drums. it seems that everyone is going for this sound (just like me)
so here is the question, how come these days everyone is talking smack about big drums? everone talks about the LZ drum sound and at the same time eveyone is using 22" kicks.
i have an idea if JB's drums sounded so great why don't you start by picking up a set of early 70's Ludwigs with a 26"kick, a small rack of something like 14", with 16" and 18" floor toms.
wouldn't that be a good start?
is it just me? |
I have several early 70's 3-ply Bonham sized kits, but that isn't going to make you sound like Bonham. Zeppelin I was recorded with a 22, 13, 16 3-ply Ludwig kit, and he still got a big sound. There are
a lot of factors involved, which go beyond the gear he used. I'll touch on a few obvious and a few not so obvious points:
His tuning was very unique. Lots of people call it "big band" tuning, but I disagree. I think Buddy Rich and Louis Bellson when I hear big band tuning, where the drums sound almost like biscuit tins. He didn't have the typical 70's-
tape kotex to everything-dead drum sound, yet his drums weren't cranked up like Buddy's "fire cracker" snare. Bonham tuned up (his reso heads especially) to project over stacks of Marshalls, but only so high as to remain punchy and deep. If I had to describe the range of his tuning, I'd say medium-high. His drums would project, yet still had punch.
The room is very important, as are the mic's, EQ, and compression. Compression played a big factor in his sound, and not just in the studio. There are pictures floating around where you can see several Urei 1176's on stage behind or next to the drum riser. I'd bet they were being employed on his drums.
Bonham had a good understanding of dynamics. It's hard to mic a kit with just room/overheads and get a successfull balance since most drummers tend to beat the crap out of the snare, then tickle the toms when it comes time for a fill. Bonham played steady around the kit, which allowed for ambient mic'ing.
A factor that goes unnoticed and is never mentioned are the sticks he used (ok, I slipped in some gear talk, humour me Slutz...).
I used to think "a drum stick is a drum stick", but I've learned otherwise. Bonham used thick sticks (2B's allegedly) which would have head a pretty large bead/tip. This effected his sound, especially in regards to cymbals. I own one of his RIDE cymbals, and if I'm using a 5A with it, I'm not getting the spread and wash like he did.
I'd say if you can get a Bonham-esque sound, you're doing well. I've played Bonzo in a Zeppelin tribute and the job required me to replicate his sound/playing verbatim. Live, using a Vistalite kit and vintage 2002's, I did a damn good job getting the "Song Remains the Same" album/film sound. When we went in the studio to record promo, I nearly tore my hair out trying to replicate the records. I had vintage pre's, compressors, mic's, the right kits, cymbals, and I could only get so close (and still wasn't happy). It's going to be impossible to "nail it", as there are just too many factors involved. Do the best you can and don't obsesses over it. Bonham had an awesome sound, but I think the reason we talk about him is more due to his amazing playing. Come up with a good groove, play half a mile behind the beat, use what's at your disposal to achieve a "big" sound, and the casual observer (ie: 98% of the record buying public) is gonna say "cool, sounds like Zep".
