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Share your favorite technique to get that Dirty Indie Rock drum sound...
Old 25th July 2007
  #31
Define bigger.

To me big always implies EQ, like "fatter".

I find a lot of people use it to describe dimension and ambience.


I've done some mono mic recordings, including a Laura Izibor track that was one mono mic for the whole kit and that's it. I haven't found mono to do anything for dimension, but certainly for cutting down on comb filtering from phase cancelation.
Old 25th July 2007
  #32
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kjcoral's Avatar
 

Quote:
Originally Posted by jonaknt View Post

A lot of these "genius engineers" are doing a little more than just crushing stuff with cheap comps.
ummm, as i recall, i paid about 15 hundred back in '96 for my joe meek comp. not exactly "cheap," now is it? tutt
Old 25th July 2007
  #33
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Quote:
Originally Posted by dokushoka View Post
Throw a single 57 up in a room, aim it at the bass players butt (while the drums are playing, mind you) and pummel it with the cheapest compressor you have.
I never said Joe Meek comps were cheap.
I actually never said anything about any comps being cheap.
Old 25th July 2007
  #34
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I like indie rock drum sounds to have LOTS of bottom. A combo of distortion (Culture Vulture) and TAPE are good for Indie drums. Don't take this as a "tape rules" thing. It compresses nicely and adds low end harmonics that are specially good for indie drums. and if you want to be real indie, you shouldn't edit or pitch correct, so no computer needed.
Old 25th July 2007
  #35
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Overdriving tube pres for a little distortion is cool for some styles too.
Old 25th July 2007
  #36
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Quote:
Originally Posted by jonaknt View Post
Overdriving tube pres for a little distortion is cool for some styles too.
absolutely
Old 25th July 2007
  #37
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Quote:
Originally Posted by jonaknt View Post
I never said Joe Meek comps were cheap.
I actually never said anything about any comps being cheap.
check my response again. i quote you saying "cheap comps."
Old 25th July 2007
  #38
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The Chandler Abbey Road comp is awesome when you do the Eddie Kramer thing... go in channel one and compress then into channel two and limit. huge on room mics. only problem, to do stereo room mics you need two of those boxes and they aren't cheap... but worth every last cent heh
Old 25th July 2007
  #39
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Quote:
Originally Posted by Mike Caffrey View Post
Define bigger.

To me big always implies EQ, like "fatter".

I find a lot of people use it to describe dimension and ambience.


I've done some mono mic recordings, including a Laura Izibor track that was one mono mic for the whole kit and that's it. I haven't found mono to do anything for dimension, but certainly for cutting down on comb filtering from phase cancelation.

to me, i mean fatter. as many of you know, many groups in the 60's used a mono over. most famously the beatles, and led zep early on, etc...


again, your mileage may vary. you gotta really work to find the right spot to put it but i've had more than one person come back to me after trying it and admitting the drums sounded fatter or "bigger" than their previous work with stereo over's...FWIW
Old 25th July 2007
  #40
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Quote:
Originally Posted by kjcoral View Post
check my response again. i quote you saying "cheap comps."
doing things on the cheap is cool... but if you want to get cheap suggestions it should say that in the thread title instead of "Share your favorite technique to get that Dirty Indie Rock drum sound..." which makes our slutty brains go berserker without our check book in mind.
Old 25th July 2007
  #41
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Quote:
Originally Posted by kjcoral View Post
check my response again. i quote you saying "cheap comps."
Yeah, I think I may be misunderstanding you...

I guess I'm not sure how Joe Meek comps got pulled into this.

I was kind of referring to someone else was said "cheap comps."

PM me if we're still unclear. I never set out to upset anybody.
Sorry buddy.
Old 25th July 2007
  #42
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Quote:
Originally Posted by lpkyer View Post
Actually you might wanna start with a vintage drum set....a bit of compression on the overhead...recorded to tape.....thats it man.
Basically that's what the beatles did and I dont think of their drum sound as huge and nasty.
Old 25th July 2007
  #43
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Quote:
Originally Posted by jonaknt View Post
Yeah, I think I may be misunderstanding you...

I guess I'm not sure how Joe Meek comps got pulled into this.

I was kind of referring to someone else was said "cheap comps."

PM me if we're still unclear. I never set out to upset anybody.
Sorry buddy.

no prob...it happens...movin' on...
Old 25th July 2007
  #44
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Quote:
Originally Posted by ianvargo View Post
Basically that's what the beatles did and I dont think of their drum sound as huge and nasty.

dude, i would humbly disagree on the "huge" part...
Old 23rd August 2007
  #45
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Just seen this (cool) thread.

How about using a mic in front of the kit, going into a Distressor on the 'Nuke' setting.

Old 23rd August 2007
  #46
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Parallel compression via stereo linked DBX 163xs on a group insert of my Trident 24.

Add eq and overdrive the inputs to taste.
Old 23rd August 2007
  #47
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Quote:
Originally Posted by Tony Montana View Post
Just seen this (cool) thread.

How about using a mic in front of the kit, going into a Distressor on the 'Nuke' setting.

I would only nuke a mult track.... that is way too much of a commitment to make while tracking. But, please mult away! thumbsupthumbsup
Old 23rd August 2007
  #48
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A friend turned me onto a trick that I often use for that.

Take a pair of 57's and put them right on the floor... on a mic stand of course, but just barely not touching the floor. They should be in a "V" with the open part of the "V" aiming toward the kit. Expirament with the angle and distance from the kit. Be sure you get the phase right with the rest of the kit before you start the rest of this...

Run them each into a distressor on nuke and british mode, and distortion 2. Squash the litterally hell out of them. Pan hard left and right (or your choice).

It helps if you are hitting a Neve type pre.. or an API cranked all the way up with an attenuator on the back.

This sounds like the kit is literally going to explode. You aren't doing it right if it doesn't sound like your speakers are getting ready to blow up.

Then... you blend this in with the "normal" mics to taste. There is so much cool low end and "lo-fi" crunch to this, it will knock your socks off. You can do a lot... or a a little with the blend... your choice. heck... even use the tracks by themselves for a special effect breakdown.

I have also done this mono, with one 57 and I really like it that way too.
Old 23rd August 2007
  #49
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I use a mono mic between the overheads that is there specifically to be crushed.
A warm-ish LDC normally- which I crush it with a summit compressor or a cheap D&R FET compressor I have had for years.
Sounds great.
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