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Those 80's / Prince drum and perc sounds
Old 25th September 2008
  #31
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paultools's Avatar
 

You mean if you get the extra chips?

The 9000 machine came stock with a different set of very different but extremely usable sample set than the Linndrum. It was also very buggy, and that's what really helped put the Forat guys on the map. They continued to do updates that made it more stable.
Their F16 was killer in its day, too!
Old 27th September 2008
  #32
I sampled a the LinnDrum and the LM-1 recently...

Also recorded them on tape!

Check them out here:

TDMVol1

TDMVol2


Regards
Hugo
Old 27th September 2008
  #33
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ninjasoards's Avatar
 

Someone posted these LM-1 samples a while back

I tried to find the thread, but i think it was lost when the server crashed.

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Old 27th September 2008
  #34
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dnaflr2's Avatar
 

There is a lot more going on in these tracks with the drums than just playing back the samples. Most of the samples especially the ones you are noticing that stick out to your ears have been treated with pitch shifting- using eventide harmonizer, and/or slowing down sounds tracked to tape, phased/doubled, and Prince was super intricate on the way each sound is gated. Listen to most of the great tracks with the Revolution and you will notice that no two of the snares or claps are alike. Prince emphasized and syncopated the beats using gates. Different treatments for each sample really, and different treatments for the same sample depending on where it was located in the measure.
Old 28th September 2008
  #35
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You can sample an LM-1 but it will not feel or have the timing like the quirky LM-1 playing the beat because the samples had a bit of dead air on the front end and the computer clock was not precise.I know because I've wanted to ditch my LM-1 when I sampled it into my mpc but it IS NOT THE SAME so I kept it.The LM-1 had very little filtering to cover up the sizzle when the drums were detuned.Same goes for the Linn 9000.You can have the sounds but the Linn 9000 has its own way of playing a beat.Also,You try burning or copying LM-1 sounds onto or into a LINN 9000 OR MPC OR LINNDRUM chips VIA prommer,It will sonically not be the same and will not be as beefy.I know because Ive tried.!!!Talk to Bruce Forat about these Drum machines.The LM-1 is by far the phattest of the batch.That being said.I worked with Susan Rogers(Princes Engineer) on an album and I got to pick her brain on alot of stuff.Prince's LM-1 did have a snare external trigger mod for Bobby Z....it would miss fire on occaision and Prince would Freak out.In the studio..on occaision,Prince would run the mix output through his Boss pedals.....AMS 1580s harmonizers and RMX non.lin 2 and reverse were printed.API /pultec eq's on the kik and snare.Sometimes at mix,An auratone reamping the LM-1 snare would be placed over a real snare and miked up.I actually got to visit his room at sunset sound while he was away and all his stuff was set up.He was working on what was to be the "sign of the times" album.Not alot of gear.An obxa or sx.LM-1/linndrum.A dx-7/ensoniq mirage.His wierd guitar....boss pedal board,roland guitar synth,GR-700.a JC-120 Amp.Yamaha drum kit.A box of percussion stuff,A upright piano.A bench press/weights etc.U87 on the vocal.Talent.

I own the LM-1, THE LINNDRUM and the LINN 9000.I'm totally insane because these machine have a distinctive feel.s and I love'em.Same goes for the Oberhiem DMX/DX.
Old 28th September 2008
  #36
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fanriffic's Avatar
 

Quote:
Originally Posted by carlheinz View Post
You can sample an LM-1 but it will not feel or have the timing like the quirky LM-1 playing the beat because the samples had a bit of dead air on the front end and the computer clock was not precise.I know because I've wanted to ditch my LM-1 when I sampled it into my mpc but it IS NOT THE SAME so I kept it.The LM-1 had very little filtering to cover up the sizzle when the drums were detuned.Same goes for the Linn 9000.You can have the sounds but the Linn 9000 has its own way of playing a beat.Also,You try burning or copying LM-1 sounds onto or into a LINN 9000 OR MPC OR LINNDRUM chips VIA prommer,It will sonically not be the same and will not be as beefy.I know because Ive tried.!!!Talk to Bruce Forat about these Drum machines.The LM-1 is by far the phattest of the batch.That being said.I worked with Susan Rogers(Princes Engineer) on an album and I got to pick her brain on alot of stuff.Prince's LM-1 did have a snare external trigger mod for Bobby Z....it would miss fire on occaision and Prince would Freak out.In the studio..on occaision,Prince would run the mix output through his Boss pedals.....AMS 1580s harmonizers and RMX non.lin 2 and reverse were printed.API /pultec eq's on the kik and snare.Sometimes at mix,An auratone reamping the LM-1 snare would be placed over a real snare and miked up.I actually got to visit his room at sunset sound while he was away and all his stuff was set up.He was working on what was to be the "sign of the times" album.Not alot of gear.An obxa or sx.LM-1/linndrum.A dx-7/ensoniq mirage.His wierd guitar....boss pedal board,roland guitar synth,GR-700.a JC-120 Amp.Yamaha drum kit.A box of percussion stuff,A upright piano.A bench press/weights etc.U87 on the vocal.Talent.

I own the LM-1, THE LINNDRUM and the LINN 9000.I'm totally insane because these machine have a distinctive feel.s and I love'em.Same goes for the Oberhiem DMX/DX.
WOW-many thanks for sharing Carl!!!

I've been saying I would start a prince production thread for a while but haven't yet got round to it as yet...

Any more info would be much appreciated-Sign o the times is a [email protected]£$%ng classic album,and production wise constantly still amazes me..



F
Old 28th September 2008
  #37
Gear Nut
 

great thread... for me atleast because im all about the linn drums other old school drum machines

i always see those simmons pads in videos and no one here has mentioned them..
are they just a gotta have for video thing or are they used lots for the rototom sound? simmons or the tama techstar drums with the hexagon pads.. you know you've seen em,

i dont know from experience but i always find the need for gated verbs and love punching that last snare of a measure with lotsa reverb,

anyways.. would love to hear music from anyone here doing drums that style...
lets here em rototom and kick drums that sound like basketballs!!


here's my stuff with lotsa 80's freestyle influence on first 2 tracks hope you like
MySpace.com - LOVE & ELECTRIK - Vancouver, CA - Funk / Electro - www.myspace.com/loveandelectrik

handojin
Old 28th September 2008
  #38
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isham's Avatar
hi,

I'm also digging this subject for a few weeks now (Prince drum production tips) as I have an Lm2 and very soon the forat 9000/Lm-1 (Carl Heinz you're not alone ...)
I found this "cache" forum thread (difficult to read as in "cache" mode) -->

most important linn sound


interesting post by a member -->

Quote:
There's been so many threads about the Linn, I've posted some details.

You have to actually use one to understand how the beats are created.

Here are some discoveries:

The machine is relentless and simple to use at the same time. The timing saves you time and let's you concentrate on the next idea.

Using a sampler or software is NOT the same. Any song that's used Reason Redrum or Acid or whatever, does NOT capture the essense of that machine.

The gassy sound you hear on Sex Shooter and She's Always In My Hair is the hihat with the knob that controls the decay of the hihat turned all the way to open. Then it's processed with effects.

Little Red Corvette has a shaker augmenting the open hihat effect and there is a very low rim shot in there right before it.

The "Kuh" is the rimshot, you actually have to be very precise to get that tone at times. Too low and it sounds too Jesse Johnson, too hi and it sounds stock.

Prince used a really modified version of the regular LM-1. He showed it off in Keyboard I believe in a '99 issue. He has knobs and switches on the sides.

I asked one of the repair guys and side engineers that helped Roger Linn, his name is Bruce Forat and he said that you can even add MIDI capabilites to it.

He offered to add a second row of alternate sounds with whatever sound I sampled or wanted. He just adds a switch and bam.

I think the LM-2 is triggerable but I forget.

If you used the LM-1 at the Celebration and really created a beat, you would of learned or gotten a pretty good idea how Prince created some of his classics.

I think he actually programmed patterns into a song with choruses and breaks and so forth and fingered in basic fills. Little Corvette was probably done in that manner. So it acted like a foundation for songs.

I think the Linn had a flair and sound that MIDI instruments could not capture.

My favorite song with the Linn is the released Strange Relationship, The Camille version. I would LOVE to hear the rest of that song, the fade at the end the rimshot is ALL over the place! I love it!

On Rave Un2, I don't think the engineer, Hans Blams or something could not figure out how to handle or set the machine up. And Kirky J, well, he's a good drummer, and he can program. But it's always better when Prince does it.

You can hear his skills on that album in Winding Road, there's this real funky break and you can hear the Rim Shot on there if you listen carefully.

777-9311 is probably the best of them all, second is Ballad Of Dorothy...on 777, it's really trick to figure out how the roll was done. The Linn is really dry and probably just eq'd a tad. On Dorothy, the Linn is also really dry.

One last thing, when creating beats on the Linn sometimes you actually mess up, but since the timing is so great, it's a serendipitous experience, your error can be an awesome idea!
Old 28th September 2008
  #39
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carlheinz's Avatar
 

Quote:
Originally Posted by fanriffic View Post
WOW-many thanks for sharing Carl!!!

I've been saying I would start a prince production thread for a while but haven't yet got round to it as yet...

Any more info would be much appreciated-Sign o the times is a [email protected]£$%ng classic album,and production wise constantly still amazes me..



F
Happy to share!

There are alot of people who want to get those LM-1 sounds but owning a working LM-1 and dragging it around is not an option.If you want to give up a bit of authenticity for more affordability and portability and you want to sample one I suggest...Renting an LM-1 from sst studio rentals or bruce forat.

Plugging the LM-1(not the mix out) into an API pre if handy(api eq is nice if handy....560 graphic).If you have comps and eq's,Make a batch of samples without processing and one with.

Sample the separate soft and hard hits off the machine.The DAC in the lm-1 voice card has more beef in the sound on the louder hits.
Record a sample playing with as many tuning variations as possible to capture how it plays off that machine capturing the punchy 8 bit dac overload and aliasing.Avoid using your sampler for the tuning unless it's very minor.

You will need to experiment... add a few milliseconds of dead air at the front of the samples here and there...mostly the snare.10ms seems to be a good start.

I tried to make an LM-1 Refill for Reason but havent mastered the refill process but I can load the samples into the redrum player and get by in a pinch.
Old 28th September 2008
  #40
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isham's Avatar
yeah thanks a lot Carl for your experience with this beautiful machine ! I wonder 1 thing : there are 2 revisions of LM1 -->

- revision 1 seems to have the ext. in clock jack /2 stereo mix out/int. clock button (according to wicki it sounds less good as well coz several sounds were shared on the same ship)
- revision 2 seems to not have all these in/out. How to sync to midi this lm1 revision 2 ? by using a cv to midi convertor (so the lm1 will be the master of this setup ) ?
Old 28th September 2008
  #41
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yea you guys cant underestimate how good yet easy the sequencer is. Look who made it. I use lm2 with midi/tune mod all the time slaved to mpcs. and you can change eproms...not really portable, but I dont need portablility really on something like that. I use it in my production room and whenever i go anywhere else Ive already tracked that part out.
Old 28th September 2008
  #42
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carlheinz's Avatar
 

The LINNDRUM OR LM2 is a totally diffrent animal BTW.

Hey Isham,

That would be a great question for Bruce Forat as far as confirming sounds sharing the same chip and it not sounding as good as a later Rev.The first machines had a big play buttion that said"tango"which is pretty funny.I think Bruce told me there were actually three Rev's.He also told me Rev 2's have the best overall build quality because of the buttions being servicable if they break but did not mention anything about better sound quality.You might be splitting hair's if there is any diffrence.Iv'e tried clocking mine using a Garfield mini doc connected to a Linn9000 generating 96pulse.I can convert the pulse rate via mini doc but have not been succesfull in getting the LM-1 to follow.I think that it is because The LM-1 is so primative,it wants to see a slightly diffrent wave shape on the sync input.It has nothing to do with the PPQ(Pulses per quarter note)resolution but the actual SHAPE of the waveform coming in.I think the sync section wants to see its own sync.Its not compatible with later sync boxes as one would hope.Its sync out will drive my roland jp-6 arpegiator and an old oscar synth arpegiator but getting the LM-1 to sync to something else OTHER THAN ITSELF is a challenge to say the least.Even if you could sync it to a midi clock you would have timing and delay or lag issues unless you could record the LM-1 to a D.A.W. and slide the beat forward.Best to use the LM-1 as Master....or Match the tempo of your song by hand and drop it in on the fly and edit from there.You could sample the LM-1 playing the patterns you want at trigger those as well.Anything is better than trying to get the LM-1 to follow midi.
Old 29th September 2008
  #43
Gear Maniac
 

Quote:
Originally Posted by carlheinz View Post
You can sample an LM-1 but it will not feel or have the timing like the quirky LM-1 playing the beat because the samples had a bit of dead air on the front end and the computer clock was not precise.I know because I've wanted to ditch my LM-1 when I sampled it into my mpc but it IS NOT THE SAME so I kept it.The LM-1 had very little filtering to cover up the sizzle when the drums were detuned.Same goes for the Linn 9000.You can have the sounds but the Linn 9000 has its own way of playing a beat.Also,You try burning or copying LM-1 sounds onto or into a LINN 9000 OR MPC OR LINNDRUM chips VIA prommer,It will sonically not be the same and will not be as beefy.I know because Ive tried.!!!Talk to Bruce Forat about these Drum machines.The LM-1 is by far the phattest of the batch.That being said.I worked with Susan Rogers(Princes Engineer) on an album and I got to pick her brain on alot of stuff.Prince's LM-1 did have a snare external trigger mod for Bobby Z....it would miss fire on occaision and Prince would Freak out.In the studio..on occaision,Prince would run the mix output through his Boss pedals.....AMS 1580s harmonizers and RMX non.lin 2 and reverse were printed.API /pultec eq's on the kik and snare.Sometimes at mix,An auratone reamping the LM-1 snare would be placed over a real snare and miked up.I actually got to visit his room at sunset sound while he was away and all his stuff was set up.He was working on what was to be the "sign of the times" album.Not alot of gear.An obxa or sx.LM-1/linndrum.A dx-7/ensoniq mirage.His wierd guitar....boss pedal board,roland guitar synth,GR-700.a JC-120 Amp.Yamaha drum kit.A box of percussion stuff,A upright piano.A bench press/weights etc.U87 on the vocal.Talent.

I own the LM-1, THE LINNDRUM and the LINN 9000.I'm totally insane because these machine have a distinctive feel.s and I love'em.Same goes for the Oberhiem DMX/DX.
Damn, man, to think you were in the studio where he was working on Sign O The Times...which means, in fact, that you were in the place where the aborted Crystal Ball project was being worked on. Granted, he released some of the missing tracks as b-sides (Shockadelica) and put others on later albums (Joy in Repetition was a Crystal Ball track, IIRC), but I still find the idea of a 3-disc magnum opus version of SOTT intriguing.

Regarding a "Camille version" of Strange Relationship, I wasn't aware that such a version existed. I would love to hear that, as all of the Camille tracks are amazing.

On a related note, I wish to hell Prince would allow Warner Bros to do a full re-master of Sign O The Times for CD, because, let's face it, the original CD mix is pretty damned weak. I had it on vinyl first, and there was tons of bass in the mix. The CD mix has very little. And it's got damned low volume, IMHO.
Old 1st October 2008
  #44
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isham's Avatar
thanks a lot Carl heinz for your feedback !
I will try different midi set up with the LM1 (the one I would get as no sync input anyway as this revision was trying to reduce cost on the connections side).

I will discuss soon with Bruce regarding the lm2 service I will request,

all the best,

P.S : if you are interested I scanned an old review (82 !) of the lm2 which has a lot of comparaison points with the lm1. Sorrry it's a big file,

http://www.fileden.com/files/2007/6/...cannen0001.tif
Old 11th October 2008
  #45
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Quote:
Originally Posted by carlheinz View Post
You can sample an LM-1 but it will not feel or have the timing like the quirky LM-1 playing the beat because the samples had a bit of dead air on the front end and the computer clock was not precise.I know because I've wanted to ditch my LM-1 when I sampled it into my mpc but it IS NOT THE SAME so I kept it.The LM-1 had very little filtering to cover up the sizzle when the drums were detuned.Same goes for the Linn 9000.You can have the sounds but the Linn 9000 has its own way of playing a beat.Also,You try burning or copying LM-1 sounds onto or into a LINN 9000 OR MPC OR LINNDRUM chips VIA prommer,It will sonically not be the same and will not be as beefy.I know because Ive tried.!!!Talk to Bruce Forat about these Drum machines.The LM-1 is by far the phattest of the batch.That being said.I worked with Susan Rogers(Princes Engineer) on an album and I got to pick her brain on alot of stuff.Prince's LM-1 did have a snare external trigger mod for Bobby Z....it would miss fire on occaision and Prince would Freak out.In the studio..on occaision,Prince would run the mix output through his Boss pedals.....AMS 1580s harmonizers and RMX non.lin 2 and reverse were printed.API /pultec eq's on the kik and snare.Sometimes at mix,An auratone reamping the LM-1 snare would be placed over a real snare and miked up.I actually got to visit his room at sunset sound while he was away and all his stuff was set up.He was working on what was to be the "sign of the times" album.Not alot of gear.An obxa or sx.LM-1/linndrum.A dx-7/ensoniq mirage.His wierd guitar....boss pedal board,roland guitar synth,GR-700.a JC-120 Amp.Yamaha drum kit.A box of percussion stuff,A upright piano.A bench press/weights etc.U87 on the vocal.Talent.

I own the LM-1, THE LINNDRUM and the LINN 9000.I'm totally insane because these machine have a distinctive feel.s and I love'em.Same goes for the Oberhiem DMX/DX.
thx on the info. I have also heard about the quirky timing issues being a quality of the LM1. I'd love to check one out.
Old 13th October 2008
  #46
g22
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FutureSex/LoveSounds is a great album. Prince's influence on Timbo's sound has been present for a long time, especially on this album.

Last I checked on ebay I saw some of the original LinnDrums/LM-1's going for a few thousand, if you find one for $300 let me know.

From what I've read, they didn't have velocity-sensitive pads, rather a setting for full, medium, or low velocity.

Does that mean those amazing drums patterns were all comprised of only 3 different velocities?
Old 13th October 2008
  #47
Gear Maniac
 

Yup. There wasn't enough sample memory to record more than 3 velocity layers. After all, we are talking about the first sample-based drum machine...
Old 14th October 2008
  #48
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Just so everyone knows, it is a common mistake that Prince used ONLY the Linn Drum and LM-1. This is untrue. He also used a Oberheim DMX drum machine.
Actually he used it more than people think. And I will go out on a limb to say he used the DMX on the particular songs the original poster was asking about.

It actually came out before the Linn Drum, and it has very famous (signature) feels to is sequence rhythm grooves, of which Prince used alot.

Like the Linn Drum(s) it used samples of real accoustic drums and percussion.
But its sequencer in certain groove choices is what gave you that signature "Prince" feel....

Crazy too, because it is a hell of alot cheaper than a Linn. But that is because it is a more "hidden" gem not many know about or care to know about because their friends didn't tell them about it, so it "ain't cool man" -- LOL -

Go figure
Old 16th October 2008
  #49
g22
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Quote:
Originally Posted by jedilaw View Post
Yup. There wasn't enough sample memory to record more than 3 velocity layers. After all, we are talking about the first sample-based drum machine...
Interesting, I'm guessing then the main kicks and snares were all at constant/full velocity, and the HH's a mixture of medium and low, with some medium and low kicks and snares mixed in for dynamics/ghost notes.

I've experimented a lot with different techinques as far as recording - live w/ no quantize where just about every note is a different velocity and note length, for the most live feel I can get out of a drum machine.

As well as recording the same way, but quantizing for a tighter, hip hop feel.

But, when I first got into drum machines, my first one didn't have velocity sensitive pads, but I didn't realize it until later, and all my drums were recorded at a constant 100 velocity level.

A lot of ppl liked my drums, but I opted to get a different drum machine that had velocity-sensitivity because I figured most professional beats had that, and pretty much scraped all of the beats done on it.

Looking back on it, those beats were very similar in feel to Prince ( not saying they sounded anywhere near as good) but they had that constant velocity on the kick and snare in common.

I've heard some ppl say that in hip hop its very common for producers to set all the kicks and snare to full or any constant level velocity then do the HH's live, is this true in a lot of professional music? I always thought every drum was played live.
Old 16th October 2008
  #50
Gear Maniac
 

guitar effects

What i wanna know is what Prince used in the 80s even the Sign o the times Era to get that LEAD Guitar Distortion, i just cant find that character of distortion.....
Old 17th October 2008
  #51
Gear Maniac
 

Quote:
Originally Posted by g22 View Post
Interesting, I'm guessing then the main kicks and snares were all at constant/full velocity, and the HH's a mixture of medium and low, with some medium and low kicks and snares mixed in for dynamics/ghost notes.

I've experimented a lot with different techinques as far as recording - live w/ no quantize where just about every note is a different velocity and note length, for the most live feel I can get out of a drum machine.

As well as recording the same way, but quantizing for a tighter, hip hop feel.

But, when I first got into drum machines, my first one didn't have velocity sensitive pads, but I didn't realize it until later, and all my drums were recorded at a constant 100 velocity level.

A lot of ppl liked my drums, but I opted to get a different drum machine that had velocity-sensitivity because I figured most professional beats had that, and pretty much scraped all of the beats done on it.

Looking back on it, those beats were very similar in feel to Prince ( not saying they sounded anywhere near as good) but they had that constant velocity on the kick and snare in common.

I've heard some ppl say that in hip hop its very common for producers to set all the kicks and snare to full or any constant level velocity then do the HH's live, is this true in a lot of professional music? I always thought every drum was played live.
One thing you will notice with Prince, when he is using a drum machine, he isn't trying to make it sound like live acoustic drums. He plays up the mechanical nature of the thing, the quantized timing and the synthetic sounds. This tends to create an interesting tension with his guitar, synth and bass playing, which are anything but mechanical (he only ever allowed Matt Fink to use a sequencer on one track, "I Would Die 4 U"). Examples: Ballad of Dorothy Parker (very stiff drum machine against loose keys); Shockadelica; Hot Thing; Something In The Water (Does Not Compute); Feel U Up.
Old 19th October 2008
  #52
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anteupaudio's Avatar
 

Quote:
Originally Posted by ssprod19 View Post
isn't there a sample library or plug-in that already has these sounds? seems easier than hunting down a vintage Linn machine
Yes. Nostalgia has a BUNCH of classic and rare drum machines. It also has a bunch of synths, mellotron, etc. If you're looking for a great collection, buy this.

By the way.. My father had the first Linn Drum in Cleveland... Maybe even in Ohio. When I was 6-7 years old I used to drag it upstairs, sit at the kitchen table, and program beats for hours. I remember when we got the midi upgrade and then I'd use it with our AKAI S-900. Those were the days!
Old 19th October 2008
  #53
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carlheinz's Avatar
 

Quote:
Originally Posted by babar141 View Post
What i wanna know is what Prince used in the 80s even the Sign o the times Era to get that LEAD Guitar Distortion, i just cant find that character of distortion.....
I asked Susan Rogers about this ...
He loves his Boss pedals.In the 80's,Bob Bradshaw built rig for him but he dumped it in favor of his boss pedals being right on the floor in front of him. He used JBL speakers in his cabs...BOSS TURBO DISTORTION /TURBO OVERDRIVE.Latly he's into the metalzone....more boss pedals and a mesa heartbreaker.Other 80's pedals ....The pedals I hear the most or that stand out are the boss bf-2 flanger,the VB-2 rare vibrato,t-wah vibrato,the OC-2 octaver.DD-3 delay.Sign of the Times ....I only saw a jc-120 amp and some boss pedals but no overdrive pedals (in the boss case)in the studio....no Overdrive pedals.EMG active pickups are in all his guitars.He now uses only new boss pedals from what I can tell.The Metalzone for leads.There is another rig covered in a 90's article in some magazine that is much more complex.It has a few rack pieces...roland gp-8...soldano caswell preamp...boss pedals....jbl speakers bag end cabs....It seemed he had a separate chain just for solo's.I think he has since ditched that rig and its just pedals on he floor.
Old 19th October 2008
  #54
Gear Maniac
 

effects

Quote:
Originally Posted by carlheinz View Post
I asked Susan Rogers about this ...
He loves his Boss pedals.In the 80's,Bob Bradshaw built rig for him but he dumped it in favor of his boss pedals being right on the floor in front of him. He used JBL speakers in his cabs...BOSS TURBO DISTORTION /TURBO OVERDRIVE.Latly he's into the metalzone....more boss pedals and a mesa heartbreaker.Other 80's pedals ....The pedals I hear the most or that stand out are the boss bf-2 flanger,the VB-2 rare vibrato,t-wah vibrato,the OC-2 octaver.DD-3 delay.Sign of the Times ....I only saw a jc-120 amp and some boss pedals but no overdrive pedals (in the boss case)in the studio....no Overdrive pedals.EMG active pickups are in all his guitars.He now uses only new boss pedals from what I can tell.The Metalzone for leads.There is another rig covered in a 90's article in some magazine that is much more complex.It has a few rack pieces...roland gp-8...soldano caswell preamp...boss pedals....jbl speakers bag end cabs....It seemed he had a separate chain just for solo's.I think he has since ditched that rig and its just pedals on he floor.
i been surching for this lead guitar distortion/overdrive used heavly like on the lovesexy, batman albums, i just cant get close to that distortion with boss pedals, there gotta be somthiing else, man u gotta get in touch with susan and ask her for more info, ive seen that mag with 90s rig at that period he stop using that distortion...it was mostly used in the 80s to 88 year.
Old 19th October 2008
  #55
Gear Maniac
 

Is Susan saying he was using Boss petals for, say, Let's Go Crazy and Temptation (Around the World in a Day)?
Old 19th October 2008
  #56
Quote:
Originally Posted by ssprod19 View Post
isn't there a sample library or plug-in that already has these sounds? seems easier than hunting down a vintage Linn machine
I have both the Linndrum and LM-1 in two sample packs on my site. Recorded to tape as well!

http://www.goldbaby.co.nz/tdmvol2.html

http://www.goldbaby.co.nz/tdmvol1.html



Regards
Hugo
Old 21st October 2008
  #57
Gear Head
 

Quote:
Originally Posted by babar141 View Post
What i wanna know is what Prince used in the 80s even the Sign o the times Era to get that LEAD Guitar Distortion, i just cant find that character of distortion.....
While not exactly what you were looking for, this may be of some interest to you:-

Guitar - Prince
Old 21st October 2008
  #58
Gear Maniac
 

thanks

Quote:
Originally Posted by themn View Post
While not exactly what you were looking for, this may be of some interest to you:-

Guitar - Prince
thanks seen it, even have that hohner guitar...
Old 22nd October 2008
  #59
Gear Maniac
 
tone delux's Avatar
 

The Oberhiem DMX is also great.
Old 15th March 2009
  #60
Here for the gear
 

Linn Drum

Prince used a Linn Drum, a pre-MIDI, early-1980's drum machine that was considered state of the art in that day before horses were invented. Don't bother trying to find one, but do a Google search - or a gearslutz search for Linn Drum samples.

If you really want the prince sound, run the signal really hot or get one of those analog over-saturation plug-ins that simulate that sort of thing.

And if you really want that 80's sound, find some Roland TR-808 sounds as well
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