70's RnB Drum Mic advice needed!!

[Burt]

Hi folks...

have a session next week - overseeing a drum session which needs that US 70's R n B flavour.

We have the drummer/drums themselves sorted but I really need some advice about which mics to go for so we can either hire them in or ask the studio to provide.

Something to get that dry-ish phat sound ala mid-70's Philadelphia International (O' Jays: 'For the Love of Money' type thing) or the more compressed CTI sound on Grover Washington Jr's albums using Harvey Mason, Idris Muhammad, etc.

Specific mics or mic techniques advice required pls!

(These reference tracks I've mentioned are all circa 73-75 - would they have been all close-mic'd in dead rooms...? Studio's used would have been Rudy Van Gelder's and Sigma I guess).

Burt

[Fletcher]

The mics haven't changed that much over the years... RE-20 or D-12E in the kik... 57 on the snare... 421's or 441's on the toms... 451's for overheads... oughtta do ya.

You should plan on a one headed kik drum with a blanket in it, one headed toms with some folded paper towel [or feminine napkin like thing] taped to the heads with a couple strips of gaffers tape and the same 'tape and pad' kind of thing for the top snare and kik heads.

Forget room mics and you're off and running...

[Burt]

thx Fletcher

much appreciated

Burt

[rmx16]

Sigma Sound in Philly used Altec "saltshakers" on snare and toms back in their hayday in the late 70's

Peace
Rob

[chrisso]

Hey, I could use some insider info on this subject as well.
Hoping Bob O. will chime in........

Rob,
which Altec mic is a 'salt shaker'?
Fletcher I was checking out your 3 mic technique article also.

Cool thx.

[chrisso]

Sorry. Found it myself.
Altec 633

[chrisso]

Someone told me they used a lot of Reslo mics at Sigma.

[Jules]

Take as many a 3 eiderdowns to the studio, you can use them to deaden the accoutic's by throwing them over yuppy track lighting rails - this works well, kind of like you are drying your laundry in the tracking room. I think quite a few giant studios use this flags hanging from the ceiling method (Bearsville?) anyway it was from photo of one that I stole the idea. I have a favorite cheap large tracking studio I go to but DONT like the sound of, I drape these all over the place and it cuts down on the bad high mid ambient clatter / trash.

You may have to do the drums in a vocal booth - be open minded anyhow ask someone senior at the studio where the best spot is, ambience / room mic's are your enemy as Fletcher points out - CLOSE IT DOWN!

Also the 'pea soup' (try repeating that over and over and you will understand) hi hat sound is vital.. audition mic's on the hat to deliver that high triangle like 'chink' sound. AKG 414 can do it. Trident EQ helps bring it out.

Do any percussion in the DEADEST room you can find. They will hate if they can "hear the walls".

I found that running a gasping and wheezing megga compression on the monitor mix keeps these type of sessions VERY happy. If you simulate a 70's FM radio station pumping like crazy, the musicians will hop in your lap and start hugging you (so be carefull with it!)

ecue is very skilled with this genre, see what he has to add...

[Bob Olhsson]

We used a lot of KM-84-86s on drums and I understand George M did too on EW&F. 421s and RE-20s were popular for kick.

Most of the great '70s R&B records were not recorded in dead rock & roll rooms like Record Plant. There weren't dedicated room mikes but there were lots of open mikes on other instruments picking up the room. Nobody ever compressed drums other than occasionally as a special effect in the mix.

Finally, the drummer makes all the difference in the world. An SM-57 on Ed Greene or Andrew Smith from across the room will sound more like a '70s R&B record than the same mikes, consoles and recorders we used back then on other drummers.