.........just out of curiosity............did you get to talk to your buddy yet Roundbadge?


cheers






alex

Check out "Meaning of Soul" from the last Oasis album...Awsome drum sound on the kick...so massive....Amazing **** on that album and The Thrills album...I would love to know some of the stuff he uses...

He did Helmet's "Aftertaste" record, which is an incredibly kick-ass album. To my
ears, the production on that record is perfect for the music. Talk about a great rock drum sound!

I'm curious too...

+1 .

Me too! Love the Helmet stuff, Barkmarket, and how about Far-Water and Solutions? Still love that album

Sorry for the delay Alexi..!

I'm gonna see if he'll maybe post..no gaurantee's though..
very,very busy guy..
otherwise I'll just ask him some questions this week..

thank you in advance.......

I remember a few years ago I visited Pat Schneider's shop (across the parking lot from Sound City) and he had a Neve 8058 (or maybe it was a 68) in his shop that he was modding for Sardy.

Not meaning to bring back an old thread, but I would so love to know anything about his drum recording. I absolutely love the drum sounds Sardy gets, and I know its probably a lot about tuning and proper drum choice. I've been trying to find out anything I can about him, including reading his Tape Op interview and watching those videos of him with Hot Hot Heat in the studio. I think I most enjoy his more indie-rock style productions (The Thrills, Dandy Warhols, Jet, etc.), but after listening to Wolfmother, does anyone have suggestions for some of his heavier work that also sounds amazing.
Thanks,
Josh

ckeck the first record from a band called "hundred reasons"..............


The Album is called: "Ideas above our station".........the drum tones on this record are unbelievable...

As others have mentioned, Helmet's "Aftertaste" has some great, fairly dry but very meaty drum sounds on it - with a nice 'solo' recorded in a bathroom. It was mixed by Terry Date however, so I have no idea whether samples were added in post-production.

Cheers,

bdp

I second Aftertaste, sounds great!!!!

Just wondering if anyone has anything else to add? Sardy is a HUGE influence on me and I would love to learn more about his production techniques. I found the Tape Op interview online, a while ago, and it was definitely a good read. Just want more info... if anyone's got any, that is heh

....could you post the link to the sardy interview......for i have not found it.....



cheers


alex

could someone please tell me where i can find the tape op article about dave sardy? online ... if possible. thanks. great read this thread but still major infos are missing.

for those who are still interested in sardy‘s way of working (like myself!!!), i found an interview for german magazine „sound and recording“ where he talked about working with oasis for the „dig out your soul“.

for the recording sessions at abbey road (they did guitar and vocal overdubs at „The Village Recorder“ L.A.) they used the EMI TG1 console as well as sardy‘s own neve console and noel‘s neve console, which they both brought to the sessions. the ran all the nice abbey road mics through preamps (they rented „every“ mic preamp available in london at the time) and then to pro tools. they used the abbey roads neve VR only for monitoring.

sardy worked hard on getting the sound which he wanted in the room by putting the right mics at the right places. liams vocals were mainly recorded with a shure sm7 („liam has one of the loudest voice ever heard!“) and a neve preamp. sometimes, for softer songs a neumann u47 or a shure bullet 520 dx. after the preamp a old LA2A and into pro tools.

sardy used apoggee big ben clock with 24bit/88,2kHz.

for the mixing sessions they moved to L.A. at „The Village Recorder“ (freaking nice ... The Village Recorder). they used the 76-channel neve 8048 console and lotsa outboard. for comps: LA3-A, 1176, TG Limiters, Urei 175, RCA BA6A, Collins comp&limiters. but he said he did not do much with comp/EQ/effects during mixing as he always want to capture the sound when recording. therefore mixing is more getting the balance right.
for vocal effects he used a watkins tape-delay and the roland space echo or the shadow digital copycat. the record was mixed to 1/2“ tape Ampex ATR 30 ips.

if you own the oasis „dig out your soul“ bonus dvd you can see some very yummy-yummy gear!

... and i would be still interested in getting that "Tape OP" article about sardy ...

i recorded and co-produced the upcoming HARMFUL album 'CAUSE' (release 23rd april '10 on Pias). the album was mixed in by D. Sardy.

i wasn't present during the mix, so i can't say much about the gear or techniques he used, but he actually didn't treat the signals very hard. he mixed in samples with the snare and kick, but very tastefully, just so they stay underneath the original and don't sound like samples.
otherwise i recognize all the original signals i recorded, he used very little EQ and treatment. The distorted bass and the guitars sound exactly like they sounded during the session. I can even recognize the sound of my desk and my room.
But he did put it all in an very well-balanced and very punchy mix. good job.
cool album, too!

tom

analoghaus :: studio label verlag - home

some interesting screenshots from the dvd regarding the drums. i am no expert in drum micing so please help me.

here, a very reduced set, no toms, a fat U47 on the left aiming at the drummer (???), a U87 from above the snare, a sm57 on the snare (with some selfmade screening), small condenser of hi-hat and cymbal ...


... and one mono overhead.


so no stereo overhead, how does he get the stereo picture than? by panning the hi-hat hard left and the cymbal hard right? or maybe it's intended to sound mono-retro ...

i find the position of the U47 in the first pic on the left aiming at the drummer interesting: what it is for? to get a mono picture of the whole kit, compress it to hell and add it to the mix for the so called "flesh"?

...i saw the oasis dvd and asked myself the same questions...

hi tom,

i saw the teaser for the new harmful record...looking forward to that record

Maybe just stereo room mics?

Or maybe that particular song had a mono vibe to the drums

(Is that Zak Starkey?)

heres the harmful teaser:

YouTube - Harmful 'Cause' [Official Trailer]



does anybody know what kind of console sardy is working on in this short video?

I think it says ORAM BEQ - ?

Rack at 1.45 - 1 x Purple comp, 2 x blackface 1176? - 2 x AMS? Summit EQ? (silver rack unit)

i believe the oram is toms console....i am talking about the
one you see at 1:06 ....is that an old API console?

Did we get a glimpse of what he was using on the kick?

U47 possibly in Fig. 8 then turned so the null is facing the mono OH?

Dead thread, I know, but I'm always looking to find out more about what Sardy's up to.

I know this isn't revealing any of Mr. Sardy's techniques, because I've never seen him work, but I did mic up and record Jet's drummer for a quick demo idea for their last record. I put him on the studio kit I've used mucho times and mic'd him up the same way I've done mucho times and when he started playing my jaw almost hit the floor.

The s#$t sounded amazing. His dynamics and groove were rock solid. I started laughing when he walked back in the control room and told him, when drummers play like that you don't need samples or beat detective.

I think I remember reading that Sardy really works the drummers he records to play it right and won't settle for ok takes.

Knowing Chris had made two albums with him, I'm not sure if he always played like that, or if it was the result of the Sardy drum boot camp I've heard he puts the skin bashers through. I didn't ask.

It is a cliche as the day is long, but when you record musicians that good, people will always ask you how you got that "sound". Of course the right gear and knowledge is an integral component as well.

The U47 above the kick is a trick I use all the time. It actually stemmed from a live sound setup I was taught when you only have two mics for the drums. That one and one on the kick. I call it my "Top of kick" track. It will give you the attack of the kick and a heavy snare with some cymbal. Of course, if you compress it with bad intentions, it will also give you sweet Satan.

thumbsupthumbsupthumbsup

bumping this old thread, for i don´t want it to die....

I´ve found some cool videos, showing sardy in the studio, recording
ho hot heat´s first record:

YouTube - Soldier in a Box Studio Clip


Does anybody know, which amps Sardy usually uses...?


cheers


alex

I would like to also bump this thread. I've been listening to the new Crash Kings album and love the production on it, the album has soooo much attitude! It reminded me a lot of the Cold War Kids album Robbers and Cowards, and when I did a little research I noticed Dave Sardy mixed Cold War Kids and produces Crash Kings. If you have not check out Crash Kings, you should!