Quote:
Originally Posted by chrisso  Maybe Ringo would have something to say about that (Come Together)
I also wouldn't ascribe busy hi-hat parts with a great hi-hat sound.
I just think good drummers and good engineers have been around for a long time.
Until engineers like Emerick, no one was close micing kits much, so the kit sound was more organic, arguably less detailed. |
I think we are mostly agreeing. Without much close micing, engineers weren't paying so much attention to the hats - this is all I'm saying, lest the OP thinks that there's a magic gear solution that was purposed for that hat sound. Good players, good engineers, good room, the right cymbals.
Yes, I know there were great hat stylists before Copeland. Lots of the RnB guys of the 50s and sixties, plus all the jazz players, come to mind. But the hats were nuances and the sound more -- blended, organic as you call it. Except for Buddy who would play that thing like a mofo. Not many times in rock did it become a lead instrument like Copeland made it where it would get special treatment from the engineers (save, of course, exceptions like Come Together). Busy doesn't make good, but if it's a featured element, then it's more likely to get due attention and treated a little better than normal.
The OP asked how they got that sound - a few posters suggested mic/preamps. I think the hat sound was just a happy result of overall good engineering and the style/quality of performance.
Can that sound really be attributed mostly to tape?