Do CLA and Mike Shipley Really Use Steven Slate Drums?
Old 5th April 2009
  #1
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Do CLA and Mike Shipley Really Use Steven Slate Drums?

I'm just curious that's all?
Old 5th April 2009
  #2
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Don Flame suits. Take cover...
Old 5th April 2009
  #3
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Originally Posted by noiseflaw View Post
Don Flame suits. Take cover...
No shit
Old 5th April 2009
  #4
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Quote:
Originally Posted by rhythmmaster View Post
I'm just curious that's all?
Nice!
Old 5th April 2009
  #5
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ryst's Avatar
 

I'm sure CLA does. I met CLA at the Namm Show at Steve's booth. Cool guy. Steven could probably give you the low down on a lot of mixers who use his samples. I believe his website also lists some users too.
Old 5th April 2009
  #6
11413
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why wouldn't they? how many records have an alesis D4 on them?

the trick is to understand that they use samples ADDITIVELY, in parallel... and use the SSL filters/EQ to limit the sample to whatever freq band they wanna add more OOMPH to.

2nd point, they still have the recorded OHs/Room playing with the original sound of the snare in the room.. again, in parallel to the original. parallel thinking is why we mix on LFACs.

Sample Replacing is an amateurish trick... its better to use a sample behind the original and then only use certain elements of the sample (separate with filter/EQ/gate).... pretty much every big rock modern record has something like this going on.

or do the Andy Wallace trick and use sample ambiences behind the real drums....

it's never JUST the sample playing... without the original track, room, or OHs.

ppl have a problem with this???
Old 5th April 2009
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Quote:
Originally Posted by 11413 View Post
why wouldn't they? how many records have an alesis D4 on them?

the trick is to understand that they use samples ADDITIVELY, in parallel... and use the SSL filters/EQ to limit the sample to whatever freq band they wanna add more OOMPH to.

2nd point, they still have the recorded OHs/Room playing with the original sound of the snare in the room.. again, in parallel to the original. parallel thinking is why we mix on LFACs.

Sample Replacing is an amateurish trick... its better to use a sample behind the original and then only use certain elements of the sample (separate with filter/EQ/gate).... pretty much every big rock modern record has something like this going on.

or do the Andy Wallace trick and use sample ambiences behind the real drums....

it's never JUST the sample playing... without the original track, room, or OHs.

ppl have a problem with this???
What is LFAC?
Old 5th April 2009
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Quote:
Originally Posted by Latinlover View Post
What is LFAC?
sorry, large format analog console
Old 6th April 2009
  #9
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Quote:
ppl have a problem with this???
I don't mind some of the additive tricks - particularly triggering effects with samples, etc.. it's the wholesale replacement of drums (after quantizing them) that I dislike. I'm getting tired of hearing grid rock.
Old 6th April 2009
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I think most of the time in commercial work, replacement is done with drumagog or equivalent. Its not programmed. Its the drummer playing and you cant quantize that. Only Midi tracks can take advantage of that. I bet alot of bands use triggered samples. Especially with the time savings and flexability. Its like the reamping craze going on. Works great especially if you have a drummer who insists on using his shit drum set.
Old 6th April 2009
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Quote:
Originally Posted by BushmasterM4 View Post
I think most of the time in commercial work, replacement is done with drumagog or equivalent.
Well I have never found a replacement for TAB then Paste each snare sample. Beat detective can put random hits out of phase and always seem out of time. Havn't tried Drumagogg but unless "ALL" tracks are replaced 100% accuratly and in phase I'm sticking to the original plan.

And yes Snare 50% original 50% sample (compressed together via distressor -5dbGR)along with plenty of room and some overhead works well for me.
Kick drum same or 100% sample if neccesery.
Old 6th April 2009
  #12
Quote:
Originally Posted by BushmasterM4 View Post
Its the drummer playing and you cant quantize that.
Yes you can - and unfortunately it's done every day on commercial releases.

Rail
Old 6th April 2009
  #13
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Quote:
Originally Posted by PlatinumSamples View Post
Yes you can - and unfortunately it's done every day on commercial releases.

Rail
Funny to hear from someone in your business...
Old 6th April 2009
  #14
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Quote:
Originally Posted by PlatinumSamples View Post
Yes you can - and unfortunately it's done every day on commercial releases.

Rail

I would say fortunatly in some cases.
Old 6th April 2009
  #15
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Quote:
Originally Posted by BigJamesBoy View Post
Funny to hear from someone in your business...
Why is that funny? His business isn't quantizing drums. It's drum samples. 2 completely different things.
Old 6th April 2009
  #16
Quote:
Originally Posted by davidwilson View Post
I would say fortunatly in some cases.
Perhaps I should have said something along the lines of "overdone"

Rail
Old 6th April 2009
  #17
Quote:
Originally Posted by BigJamesBoy View Post
Funny to hear from someone in your business...
We sell multi-channel samples with as many as 256 velocity levels which can be played on an electronic drumkit... they don't have to be (and shouldn't be) quantized to death.

I'm also a freelance engineer with major label credits where I've been forced to quantize drums (not with Ry Cooder thank God).

Rail
Old 6th April 2009
  #18
MonsterIsland.com
 

Isn't there something odd about an audio engineer buying samples?

Most people are just dropping in a close miked sample, why not make your own?
Old 6th April 2009
  #19
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It's about time saving & convenience - why do something that's already been done rather well? No different from buying a hardware midi instrument in my book ...
Old 6th April 2009
  #20
Pastor Obviedo
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Quote:
Originally Posted by PlatinumSamples View Post
I'm also a freelance engineer with major label credits where I've been forced to quantize drums (not with Ry Cooder thank God).

Rail
Can you name a few of your major label credits?
Old 6th April 2009
  #21
Quote:
Originally Posted by Pastor Obviedo View Post
Can you name a few of your major label credits?
Allmusic.com -- Rail Jon Rogut

I received a (Best Engineer non-classical) Grammy & TEC nomination for Meshell N'Degeocello's Peace Beyond Passion... Another credit would be Ry Cooder's Chavez Ravine and a few soundtracks... I work with Mike Clink a lot...

Rail
Old 6th April 2009
  #22
Pastor Obviedo
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Quote:
Originally Posted by PlatinumSamples View Post
Allmusic.com -- Rail Jon Rogut

I received a Grammy & TEC nomination for Meshell N'Degeocello's Peace Beyond Passion... Another credit would be Ry Cooder's Chavez Ravine and a few soundtracks... I work with Mike Clink a lot...

Rail
Wow you received a grammy!!

Congrats.

Pastor.
Old 6th April 2009
  #23
Nomination - Bruce Swedien won (as he always did when nominated)

Rail
Old 6th April 2009
  #24
Quote:
Originally Posted by davidwilson View Post
Well I have never found a replacement for TAB then Paste each snare sample. Beat detective can put random hits out of phase and always seem out of time. Havn't tried Drumagogg but unless "ALL" tracks are replaced 100% accuratly and in phase I'm sticking to the original plan.

And yes Snare 50% original 50% sample (compressed together via distressor -5dbGR)along with plenty of room and some overhead works well for me.
Kick drum same or 100% sample if neccesery.
at least one very very well known british mixer/producer uses a similar technique, but with midi, and then battery to trigger samples - enabling very quick auditioning of different samples.

Another fairly well known up-and-coming producer/engineer uses a similar idea in a totally different way - he'll have me or whoever is assisting him use a very short trigger sample (ie exactly the same region, with no overlaps even on fast fills) the whole way through the song - then using pro tools' "replace all identical regions" drag-and-drop from the audio pool, he can audition different samples very quickly.

Personally I like it when the sample follows the velocity of the original track a bit - not that easy when tab and dropping samples.
Old 6th April 2009
  #25
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Haha talk about off topic! i think the original posters question was do the name guys actually use SSD or is it just an endorsement
Old 6th April 2009
  #26
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Quote:
Originally Posted by PlatinumSamples View Post
We sell multi-channel samples with as many as 256 velocity levels which can be played on an electronic drumkit... they don't have to be (and shouldn't be) quantized to death.
And I would also add I don't really like listening to albums with total drum replacement slapped all over the songs.
Of course it's great when a big cheese in the industry uses your samples and praises their quality, but the vast majority of users are people who don't have access to a great drum room, or a great drummer, and zero budget for outsourcing their drumtracks.
This is where the Platinum/Slate/Superior products really come into their own IMO.
In the past you might use a drum machine, or in the early days of software sequencers, fairly basic sampling with 4 or 5 hits per drum.
These days you really have a legit drum session at your fingertips.
If I had the budget of a major album, I'd rather hire a great drummer and hear 'real' drums on the music though.
Old 6th April 2009
  #27
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Quote:
Originally Posted by PlatinumSamples View Post
Nomination - Bruce Swedien won (as he always did when nominated)

Rail

Not to worry - that Meshell album is AWESOME!! I was using that as a system reference disk for years after it came out.
Old 6th April 2009
  #28
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Quote:
Originally Posted by psycho_monkey View Post
at least one very very well known british mixer/producer uses a similar technique, but with midi, and then battery to trigger samples - enabling very quick auditioning of different samples.

Another fairly well known up-and-coming producer/engineer uses a similar idea in a totally different way - he'll have me or whoever is assisting him use a very short trigger sample (ie exactly the same region, with no overlaps even on fast fills) the whole way through the song - then using pro tools' "replace all identical regions" drag-and-drop from the audio pool, he can audition different samples very quickly.

Personally I like it when the sample follows the velocity of the original track a bit - not that easy when tab and dropping samples.
Care to share names? I'm wondering if I've worked with the same guy!

Al
Old 6th April 2009
  #29
Quote:
Originally Posted by Worlez View Post
Care to share names? I'm wondering if I've worked with the same guy!

Al
Possibly you have, but PM me if you really want to know!
Old 6th April 2009
  #30
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Quote:
Originally Posted by PlatinumSamples View Post
Allmusic.com -- Rail Jon Rogut

I received a (Best Engineer non-classical) Grammy & TEC nomination for Meshell N'Degeocello's Peace Beyond Passion... Another credit would be Ry Cooder's Chavez Ravine and a few soundtracks... I work with Mike Clink a lot...

Rail
Man i love that CD, peace beyond Passion, and i love the sound of the drums,
did you remember what was the set up for the acoustic drums......
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