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#61
8th March 2012
Old 8th March 2012
  #61
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Originally Posted by Reptil View Post
cocaine is a helluva drug !
#62
9th March 2012
Old 9th March 2012
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Originally Posted by Cabrone View Post
Well I think you were right in there not being any voodoo to it as I believe I've found the process.. Simply pitching down the Kick and then a bit of processing ofcourse, it seems to be what I was after!

I only thought of it after watching a little video of the DMX and the guy was playing with the pitch knobs on the back of it and voila! Sure I'd tried it before though but given up on it lol.

So here's a little project I opened up with the DMX I already had in it and worked with it a bit. Mind you it's not necessarily perfect but I'll still fine tune it perhaps.

Check it out if you like the funk! I'm excited now as I can now get the kit sounding phat. :D
authentic sounding. excellent.
#63
9th March 2012
Old 9th March 2012
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Quote:
Originally Posted by Reptil View Post
no, I wish! did I have to, to come to this conclusion? it's deduction; that's how these ppl. produced in 1983, they went into a studio and played. Rick James wasn't an unknown electro/hiphop guy, he had a backing band. This "Mary Jane Girls" album was a Motown production. Rick James did have a home studio, but I think it wasn't recorded there (eeehh at Motown!). what did you think? it's certainly not a drummachine, or sampler, also doesn't sound like one to me at all.
no I wasn't saying you had to be there to have an opinion, lol, I honestly thought you might've been since some ppl who worked professionally in that era pop up from time to time on here.

To your point about using drum machines on the MJG album, afaik that whole album was done with the DMX, except for the couple of ballads. Thats one of the things I find so impressive about his drums. He got his drum machines sounding like acoustic drums, and he got his acoustic drums to hit/smack like a drum machine. Thats why I'm interested in knowing more about his techniques. I know he used live drummers at times. I just really like his drums and whole production/engineering in general and I'm curious to know more about it, as there doesn't seem to be any info on it anywhere, which is kind of surprising. In many ways, he was one of the pioneers of the hip hop sound. If you listen to a Dr Dre mix, its very similar to Rick James' mixes/productions. Minimal yet funky, hard hitting drums, fat basslines, but a clarity to all of it.
#64
9th March 2012
Old 9th March 2012
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One of my fav Rick James performances, on Letterman in '82.

#65
9th March 2012
Old 9th March 2012
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speaking of rick...anyone know what synth bass & lead he used on superfreak?

also curious what drums were used by these guys:



which naturally brings me to this:

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#66
11th March 2012
Old 11th March 2012
  #66
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Quote:
Originally Posted by Mach1na View Post
I would say it's more like a combination of things - and in most cases, what you're missing is vintage hardware, actual analog machines and analog tape.

I have noticed the same thing as the OP, I have all those classic drum machine samples in various forms (MOTU BPM & the Classic Beatbox Anthology, plus a package of 214 drum machines someone online put together, called "The Machine"; even some Kontakt Instruments like their Retro Machines package and the Zero-G Nostalgia package) - and I don't think I've ever achieved a LinnDrum/DMX sound I actually like with them.

You could try the Waves Eddie Kramer tape plugin? Tape Plugin | Kramer Master Tape | Waves

Here's my example - a brief snippet of an unfinished Herbie-esque Rhodes ditty. I used Logic's "Fat EQ" and "Limiter" plug-ins to achieve this. I don't know if it's that punchy, but it sure is fat. http://dl.dropbox.com/u/15045839/Lowrider.mp3
Sounds more Punchy than fat to me, sounds nice though!.

I've been playing round the past few days, I noticed that the 3 different kicks and snares in my sample pack(after reading the website I got them from again) that they aren't simply just louder, there are actually differences and I tried the other kicks, the 2nd in particular sounds alot more like the kick in the sample tracks I posted, still needs processing ofcourse but ends up with a much thicker sound.

Dubsounds Oberheim DMX Samples

That's the site btw, not the one I previously posted.

One thing I find hard with this kit though is the high end, it's naturally dull and when played with other stuff it sounds like it needs brightened up, then you raise the high end but you get the nasty digitalness of the samples.
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#67
11th March 2012
Old 11th March 2012
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Once again I'll say it's not that complicated; it's common to overthink things and believe there's some great mystery to it when in fact it's just about finding good sounds and using them well. Back then sounds were generally higher quality and good right out the box.

James definitely had some talent, but did nothing special whatsoever on those stock sounds. Those are stock sounds with very little modification-some tweaks on the tuning, a little reverb here and there. No gated reverb, that trend happened a couple of years later. I've owned an Oberheim and Linn since 1986, and heard them on most records produced from around '83 to '85. Most records used one or the other since those were the two best drum machines on the market. Some used an 808. Rolands were part of the second tier of drum machines that one used if there wasn't the budget for the others, except in cases in hip hop or some soul records where that 808 sound was desired.

He was from Buffalo, so that along with the sound explains his allegiance to Moog on all records-Mini, Memorymoog, Liberation, etc.
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#68
12th March 2012
Old 12th March 2012
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Here's a Q then analogbass since you know about all this stuff. :D

It's about gated reverb, how many reverb units would the average studio have had back then? And any idea how many different reverbs were used per track? Were they setting up gated reverbs on their snares for example, as Insets or Sends?(Aux would be the hardware term for a Send, right?)

Also were there any particular popular units back then? (early-mid 80s)

Cheers.
#69
14th March 2012
Old 14th March 2012
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You guys have great demos here, it's nice to know that some of you still dig this style. I've put something together in 10 minutes flat, nothing special, just to see if I wasn't rusted :P I used to love this music back then, I think it would be a good idea to kinda modernize the sound a bit though. If you want to get real authentic, get some real analog synths + real tape. Otherwise, my advice is; don't think too much, the arrangement is always the most important thing, as you keep doing it, the sound comes to you naturally, and that become your own sound/signature. It's always good to have a reference though.

PS: the genre is called Funk, or early 80s Funk. That was right after disco music.
#70
3rd April 2012
Old 3rd April 2012
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That Rick James award video is ridiculous. First time poster and so happy that I found this thread. Anyway, Kontakt 5 comes with a really good version of the Linndrum Kit out of the box, I use it quite often. It also comes with the DMX and the DrumTraks kits, as well, definitely my go to for some electro boogie.
#71
3rd April 2012
Old 3rd April 2012
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I just found this little clip:




This blew my mind. I love this performance. I wish Rick had more songs that were stripped down like this. Amazing. "Ganja" watching Rick go off is an added bonus.

Thank you for posting this.
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#72
5th April 2012
Old 5th April 2012
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Quote:
Originally Posted by l.sicilian View Post
You guys have great demos here, it's nice to know that some of you still dig this style. I've put something together in 10 minutes flat, nothing special, just to see if I wasn't rusted :P I used to love this music back then, I think it would be a good idea to kinda modernize the sound a bit though. If you want to get real authentic, get some real analog synths + real tape. Otherwise, my advice is; don't think too much, the arrangement is always the most important thing, as you keep doing it, the sound comes to you naturally, and that become your own sound/signature. It's always good to have a reference though.

PS: the genre is called Funk, or early 80s Funk. That was right after disco music.
Sounds like you got it! You gonna finish it?

Yeah I imagine that's the term but it's a bit ambiguous these days.

Here's a quick little track I made but one of my favourites(Funny, those tracks you make quite quickly can often be the favourites!)

Think I got the DMX to sound good, got another kit and used RBass to thicken the Kick and Snare up, bit shit though cause it's not what they would have done back then. haha

Any thoughts, is my low end too heavy?

http://soundcloud.com/djagility/hidden-groove-just-give-it-up
#73
5th April 2012
Old 5th April 2012
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If you're having trouble getting this sound, it's not because you lack special vintage late 70s/early 80s gear, but rather you just haven't spent enough of your life processing and mixing sounds.

The "All Night Long" drums are isolated at the start of the record and any monkey with a computer and some DMX samples can reverse engineer them.

Start with the kick, for example.

Run it thru a spectrum analyzer and compare it to your unprocessed stock DMX kick. What's different about the frequencies that are popping up? Adjust EQ until you're in the ballpark.

Now look at the waveforms. How much of a transient is there compared to the stock sample? Now load up a compressor. Start fooling around with attack & decay. Not having any luck? Try parallel compression.

If you go too far with this sort of thing, you end up in Ed Banger/Electro House territory.

But it's also helpful to learn that the drums on Justice "DANCE" are basically the same thing as "All Night Long". The difference is simply in how they are _processed_.

The hi-hats are hi-passed to an extreme degree. Maybe 1kHz. I can't recall.

The reverb on the snare is just a plate reverb. Any plug-in or digital box will get you there. If you're not getting the right decay, maybe throw a limiter on it to make it 'bloom'.
#74
10th April 2012
Old 10th April 2012
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Quote:
Originally Posted by Cabrone View Post
You gonna finish it?
Oh no, I started playing with drum machines some 30 years ago, those "drum sounds" don't do it for me anymore - loooooong gone. It's gotta be either, real drums or uniquely processed synthetic drums (i.e; VERY personal touch / never worry about what Mr X or Y is doing - just get your own sound).

There are so many possibilities nowadays. You have to understand that back then, using drum machines was still cheaper than hiring live drummers, drum machines was just a convenience, then it became very popular and cost effective. Similar thing happened with the electric bass guitar and other instruments...

Quote:
Originally Posted by Cabrone View Post
Yeah I imagine that's the term but it's a bit ambiguous these days.

Here's a quick little track I made but one of my favourites(Funny, those tracks you make quite quickly can often be the favourites!)

Think I got the DMX to sound good, got another kit and used RBass to thicken the Kick and Snare up, bit shit though cause it's not what they would have done back then. haha

Any thoughts, is my low end too heavy?

http://soundcloud.com/djagility/hidden-groove-just-give-it-up
Very nice, you got it. I don't like to criticize other people's mixes, for 1) is a very personal and subjective thing, for 2) people who criticize usually tend to nitpick endlessly on very minor details, and I am not into that.

Here is a little secret; I know some engineers from the 70s who used to spend HOURS to get the bass drum sounding "right" (again, subjectively...).

As I mentioned, the most important thing is the arrangement, the soul, the vibe, the groove... If you keep mixing your own music, you will get better and better at it eventually, you won't even think about it in the end.

If you want that 80s funk vibe, you got it - look no further, just keep working on it and next thing you know, you won't be asking no-one what they think anymore.

A little bit of history; back then, there was the musicians, composer(s), arranger(s), producer(s) AND engineers involved, it was a POWERFUL combination of highly skilled professionals.

You have got some options.

1) Be happy with what you do.

2) Get in touch with a suitable arranger and an engineer, even once, pay the price, if you hit the right guy(s), you might never want to mix again and/or arrange your own music.

3) Do it all yourself, and that might take you some decades to get there.

PS: sorry I don't check in regularly in here.
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#75
23rd September 2012
Old 23rd September 2012
  #75
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Well, it's been a long 6 months or so of experimenting and banging my head against the wall, had a few moments where I thought I got it but didn't.. but now I have, atleast the first part.

It's interesting, some posters were saying that's just how the DMX sounds(in reference to the reference tracks in the first post) welllll.... We were both(I as in believing that's not how they sound straight out of the box) wrong and both right. It happens to turn out that those 3 specific tracks, the ones I specifically loved the drums on and wanted to replicate.. have all been remastered! Where's the facepalm smiley? lol

So those tracks weren't originally mixed like that with the kick so hard, there seems to have been some strong enhancement of the low end while keeping it punchy and tight... So this is an area of interest of mine, I obviously should tackle this hardness issue at the end of the process.. It's clear as comparing them to other tracks wtih the DMX, the DMX in those tracks is punchy yes but it doesn't have that deep sound, the same as tracks do now adays, ya know?? (I mean those System kicks Thump in the remasters, a DMX out the box in no way thumps, maybe the re-mastering engineer, triggered another kick or something?)

Alot of these old tracks have been remastered and rereleased so it can be decieving, especially since my only source is the internet.

If anyone has any reading resources related to remastering or mastering to alter or enhance the low end(or any part) then please share. I've done a bit of searching about remastering and what they might do in the process but not found much info, other than people hating on it lol.

Anyway, I thought I'd share my latest track, the one on which I 'cracked it' lol, felt like a scientist these past months, researching how to get it sounding right... and on the case of that, the previous posters were correct that not much processing is needed, I was going overkill and trying to process the kick and snare seperately thus creating a bad imbalance... Just some eq on a buss and buss compression is what I've found to work.. Anyway I know most of you know all this but just had to get it off my chest. :D

Anyway check it out! Like I say, I've got it sounding like a standard track and I'm happy with it but in the future I'd like to get that harder sound, you know, more 80-100 where you feel the kick hitting you etc...

Anyway, here you go, some boogie! http://soundcloud.com/djagility/hidden-groove-heatinup

Thanks all.

Now I can get the other 15+ tracks finished now I can do the drums!! Linn Drum too!
#76
23rd September 2012
Old 23rd September 2012
  #76
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That sounds phenomenal dude. Really. The drums are really hard hitting and sound great. What are you using for the bass synth? The arrangement is nice and open. Is the entire drum track DMX?

Regards
Frank
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#77
23rd September 2012
Old 23rd September 2012
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Quote:
Originally Posted by ionian View Post
That sounds phenomenal dude. Really. The drums are really hard hitting and sound great. What are you using for the bass synth? The arrangement is nice and open. Is the entire drum track DMX?

Regards
Frank
Hi Thanks man.

All the drums are DMX samples yeah, the Bass is Minimonsta*.

I still want to get them harder, the kick atleast.

I forgot to say, in my experience before dipping out the mids(400-500) seemed to get them a bit harder, I didn't use it this time though I wonder if that's a process the ME using or even the producers, I will experiment in the future I guess. I did cut off the transient of the DMX kick which I find helped alot to get rid of that annoying click and I pitched down the snare 3 semitones, which beefs it up nicely.. clap helps to bring the high end up again too.

Cheers, hope you enjoyed it.
#78
23rd September 2012
Old 23rd September 2012
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Lol..for samples and a soft synth, you got me. It sounded great and very authentic. Great job!

Not sure about how to get it to hit harder, though. Maybe EQ'ing the low a bit? Transient designer maybe? Listening over here on Focal Solos I thought it sounded nice and well balanced. I didn't think it needed to hit harder.

Again, great job.

Regards,
Frank
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#79
24th September 2012
Old 24th September 2012
  #79
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Just listened to Heatin' Up (on Sennheiser IE7 earbuds). Sounds great. You've really nailed it, I particularly like the guitar sounds and vocals. The drums sound just right too.
Regarding getting the DMX kick hitting harder, have you tried a noise gate to adjust the attack transient (Valley People Dynamite for example) rather than removing the front of the sample? Also, what about a tape emu plug for low end beef/flavour? Just a couple of ideas. Would be interested to know your 2 buss chain.

Anyway, great job!
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#80
24th September 2012
Old 24th September 2012
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Quote:
Originally Posted by ionian View Post
Lol..for samples and a soft synth, you got me. It sounded great and very authentic. Great job!

Not sure about how to get it to hit harder, though. Maybe EQ'ing the low a bit? Transient designer maybe? Listening over here on Focal Solos I thought it sounded nice and well balanced. I didn't think it needed to hit harder.

Again, great job.

Regards,
Frank
Heh, yeah well, I'm kind of trying to make it sound as authentic as best I can ITB.

About getting it harder, yeah that's in reference to the original reference tracks but I think it's due to being a product of this age, I started off making Hardcore(Hard Dance music) so I'm used to hard pounding music, regardless of the genre, love a hard hitting Funk track too!

I indeed figure the answer to my soluton is somewhere in boosting the low end or cutting the mids but maybe on a parralel chain otherwise it just gets muddy and thumpy.. I need the punch but it to be tight?

Thanks though, it's a compliment and I am happy with how it sounds, first Funk track I've finished that I'm happy with.

Quote:
Originally Posted by tun View Post
Just listened to Heatin' Up (on Sennheiser IE7 earbuds). Sounds great. You've really nailed it, I particularly like the guitar sounds and vocals. The drums sound just right too.
Regarding getting the DMX kick hitting harder, have you tried a noise gate to adjust the attack transient (Valley People Dynamite for example) rather than removing the front of the sample? Also, what about a tape emu plug for low end beef/flavour? Just a couple of ideas. Would be interested to know your 2 buss chain.

Anyway, great job!
Hi, thanks

Yeah I was using a Transient Designer on the kick to remove the attack, stock Cubase one.. I may well try something like a gate or some emulation of one, I wanna try n keep the feel somewhat legit.

About Tape Emu's, I've found them hit and miss, Ferrox definetely toughens things up but others can seem to take away the actual depth.

The 2 Chain, was SSL style compression again, Pultec style EQ boosting the low end and high end a little and then a Limiter.

Thanks again guys! Don't think I'm that far off now, guess just putting the work in the hard work yourself does work, even if it takes alot longer.
#81
19th October 2012
Old 19th October 2012
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Yeah nice thread, to the OP great work man keep it up. I had to chime, in those people saying it was just a little eq and reverb lol are very mistaken, for a start your talking about the days when most music involved a team of people just look at the back of any record sleeve from that era. The person who programed the DMX was different to the engineer and so on. Some of the best engineers perfected their craft in the 70's and 80's its a bit of a blind insult to suggest that nothing much went into it. Also dont under play the feel that programming the DMX gave to the overall effect! I'm with the OP its obvious that people can hear different things. I was around in the eighties and coupled with my research much used outboard to create the DMX sound included DBX compression, non linear reverb and SSL eq and buss compression. On many tracks you can clearly hear the side chained and gated 50 hz sub tone which was supplied by the desk. Listen to The Message By GMF and Melle Mel, also the System.
Listen to this nice DMX example

http://youtu.be/aO-L_Bgjoqg


On the system track you can hear the sub tone with bass and kick drum.

http://youtu.be/J1sGhB0YfCA



Golden era for 'Electro funk" !!

Last edited by creative69; 19th October 2012 at 09:41 PM.. Reason: spelling
#82
20th October 2012
Old 20th October 2012
  #82
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So much good music in this thread from both the posters and the youtube links.
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#83
20th October 2012
Old 20th October 2012
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Originally Posted by creative69 View Post
Yeah nice thread, to the OP great work man keep it up. I had to chime, in those people saying it was just a little eq and reverb lol are very mistaken, for a start your talking about the days when most music involved a team of people just look at the back of any record sleeve from that era. The person who programed the DMX was different to the engineer and so on. Some of the best engineers perfected their craft in the 70's and 80's its a bit of a blind insult to suggest that nothing much went into it. Also dont under play the feel that programming the DMX gave to the overall effect! I'm with the OP its obvious that people can hear different things. I was around in the eighties and coupled with my research much used outboard to create the DMX sound included DBX compression, non linear reverb and SSL eq and buss compression. On many tracks you can clearly hear the side chained and gated 50 hz sub tone which was supplied by the desk. Listen to The Message By GMF and Melle Mel, also the System.
Listen to this nice DMX example
Yeah through time I've come to realise most of those things are part of this sound, what do you mean by non Linear reverb though? I'm really working on getting that particular snare/clap verb they used commonly..

Big thing I've discovered this week after analyzing alot of tracks and the particulars in this thread is high frequency cuts on the whole track, especially for example on the Attitude(The System) tracks, cut at 10khz!! Doesn't really sound dull, sounds nice full n warm, I've tried it out on a track im doing and very very similar result and sound to the Attitude track so I'm pretty happy.. My question now I wonder to myself is should I mix into it? hmm

But yeah pretty much solved the whole conondrum, I'd just been way over processing/complicating stuff and it's really pretty simple, 2 most important things(aside from basic balance) I've learned to getting a nice sound like I said before was turning down the attack on the kick to get rid of that click n give it more of a thump(I use transient designer) and a high shelf to bring out some brightness as naturally it sounds like ass, makes me wonder how it is considered such a good kit lol... The fact that it's so dull naturally makes me wonder about the high cut thing, might that have been done so the other sounds match more easily to the lack of brightness of the DMX compared to what other sounds might have?

There again I don't know at what stage this circa 10khz cut(I've heard tracks from the last decade cut at say 14khz but 10khz takes the cake!) comes in at as I'm mostly listening to vinyl MP3 rips from youtube or MP3 Remasters, shocking I know lol..

Studying the Linn Drum to atm, not sure which kit I prefer, they both have their pros n cons.

Thanks for those who enjoy my music, lots of stuff going on my soundcloud in the future so follow me I suppose If you want to hear.

More lovely Network DMX phat goodness! When I get my mixes like this I'll be a happy man!

tun
#84
20th October 2012
Old 20th October 2012
  #84
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Quote:
Originally Posted by Cabrone View Post
a high shelf to bring out some brightness as naturally it sounds like ass
Punches like nothing else though, and takes processing really well!

Stock LinnDrum kick (post 1400 units I mean, the first 1400 had different stock kick and snare) doesn't have as much beef but requires hardly any eq to get it sitting nicely, and it takes reverb beautifully... particularly loving Lex 480 small wood room ir with my LinnDrum atm!
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#85
20th October 2012
Old 20th October 2012
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Quote:
Originally Posted by tun View Post
Punches like nothing else though, and takes processing really well!

Stock LinnDrum kick (post 1400 units I mean, the first 1400 had different stock kick and snare) doesn't have as much beef but requires hardly any eq to get it sitting nicely, and it takes reverb beautifully... particularly loving Lex 480 small wood room ir with my LinnDrum atm!
Interesting, do you have a comparison between the 2 kicks/snares between them?

Do you have any particular chains or processes you do on the kit?

I like the Linn but I hate that digital sounding bite most of the samples of it has, atleast on the Snare/Hats anyway. Not dull yet fat is my quest!

I love this track and how the Linn sounds here. FAT!

tun
#86
20th October 2012
Old 20th October 2012
  #86
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Can't listen to the clip right now but have sent u a pm
#87
20th October 2012
Old 20th October 2012
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^ i'm curious about the 2 kick/snares as well...didn't know that fact.. the linn machines are kind of elusive, very hard to actually reproduce them perfectly with samples, has to do i'm sure with the specific transposing algo which is why round robin sample kit would be necessary. i also seem to remember some talk about the hihat section being a env triggered loop or something of the sort?
#88
20th October 2012
Old 20th October 2012
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Quote:
Originally Posted by Cabrone View Post
Interesting, do you have a comparison between the 2 kicks/snares between them?

Do you have any particular chains or processes you do on the kit?

I like the Linn but I hate that digital sounding bite most of the samples of it has, atleast on the Snare/Hats anyway. Not dull yet fat is my quest!

I love this track and how the Linn sounds here. FAT!

Thats 100 percent DMX Kick and prob snare too. I have just got my DMX after using samples for so long and the thing that amazed me was the hihats they are beautiful and crisp no eq needed what so ever.
#89
20th October 2012
Old 20th October 2012
  #89
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Quote:
Originally Posted by Cabrone View Post
Yeah through time I've come to realise most of those things are part of this sound, what do you mean by non Linear reverb though? I'm really working on getting that particular snare/clap verb they used commonly..

Big thing I've discovered this week after analyzing alot of tracks and the particulars in this thread is high frequency cuts on the whole track, especially for example on the Attitude(The System) tracks, cut at 10khz!! Doesn't really sound dull, sounds nice full n warm, I've tried it out on a track im doing and very very similar result and sound to the Attitude track so I'm pretty happy.. My question now I wonder to myself is should I mix into it? hmm

But yeah pretty much solved the whole conondrum, I'd just been way over processing/complicating stuff and it's really pretty simple, 2 most important things(aside from basic balance) I've learned to getting a nice sound like I said before was turning down the attack on the kick to get rid of that click n give it more of a thump(I use transient designer) and a high shelf to bring out some brightness as naturally it sounds like ass, makes me wonder how it is considered such a good kit lol... The fact that it's so dull naturally makes me wonder about the high cut thing, might that have been done so the other sounds match more easily to the lack of brightness of the DMX compared to what other sounds might have?

There again I don't know at what stage this circa 10khz cut(I've heard tracks from the last decade cut at say 14khz but 10khz takes the cake!) comes in at as I'm mostly listening to vinyl MP3 rips from youtube or MP3 Remasters, shocking I know lol..

Studying the Linn Drum to atm, not sure which kit I prefer, they both have their pros n cons.

Thanks for those who enjoy my music, lots of stuff going on my soundcloud in the future so follow me I suppose If you want to hear.

More lovely Network DMX phat goodness! When I get my mixes like this I'll be a happy man!

You need to get spotify to listen to the tracks as I'm sure that 10hz cut is related to the mp3 files LOL!
I'm not sure if this has already been posted but take a listen to this its quite cool!

OPOLOPO - "MUTANTS" OUT NOW! - Battle of The Drum Machines | Mixcloud
tun
#90
20th October 2012
Old 20th October 2012
  #90
tun
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Well, in a nutshell, the first 1400 or so Linndrums shipped with a different factory kick and snare than the subsequent machines. They're in no way similar to what became famous as THE LinnDrum kick and snare. I learned this from Bruce Forat when he was servicing and installing midi on mine.

I have no idea if that '1st batch' came from LM1 EPROMs, but they don't sound like any LM1 sounds I've ever heard on records.

Bruce does a CD containing demos of all the EPROMs that were originally available from Linn (all of which you can still get from him), there are a lot of sounds, only problem is that the CD is taken from an old cassette tape so the quality is dire, and therefore very difficult to pick out or recognise specific sounds, especially as some of them are very similar, particularly some of the snare and tom variations.

I'll post samples of the 'original' kick and snare next week when I've got some free time!
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