I hope this helps.this style of play is unique (as not many drummers do it much anymore for a variety of reasons).and when you hear it.it stands out. For a recent reference.The drummer on Jack Johnson's "brushfire fairytales" plays a very "toonky" rimshot style. I tune my snare a bit differently.but my drum "barks" like his did when I rimshot.but when I play a more centered, traditional sounds very "run of the mill". I can verify this, as I play a vintage Black Beauty and my natural style is to strike with a rimshot on the snare. An amazing drummer sitting behind the kit A rimshotted strike (between the center and the rim)ģ. A Ludwig Supraphonic or similar quality drum with an open, ringy tuningĢ. S L O W L Y now.Bill's sound was primarily influenced by:ġ. Bruford's comments prove that my advice was accurate. What did you provide aside from an unwarranted personal attack? Mr. I dissected the tone down to the drum (a Ludwig Suprphonic) and the technique used (a rimshotted strike). Our fellow Slut wanted to mimic Bill's tone (as he played in several of the bands he mentioned). This approach became monumentally unacceptable to rock record producers as the records came to be made within a rapidly shrinking dynamic range, the better to suit the demands of American F.M. Necessity is often the mother of invention. This got the high frequencies out and cutting through, and the ring, excessive if heard on its own, was absorbed when everyone else played. To be better heard, I used a combination of open tuning with a rimshot struck on the "ringy" part of the drum, midway between the centre and the rim. "When I started playing, the drums were unmiked, and the amplifiers very big. Taken directly from Bill Bruford's website: I don't think Bill Bruford is a big rimshot guy.rimshots don't record well.has nothing to do with samples at all or radio friendly tones.whatever that is.hey I got an idea.instead of name dropping and spewing verbal wet poo, why don't you give the OP something specific to you can't tell a rimshotted strike.well, you need to go do your homework. I just think recording is approached completely differently today.i think you can get those sounds with some good choices and great playing.
SNAPPY SNARE HEADS SKIN
You should try this.a metal snare 14 inch by 5-6 inches deep.tune the top skin really low and put a wallet on it.go so low it sounds absurd then record it.tighten it up slightly and record it again.within three or four times of doing this see if you can find a sweet spot.there is somethin about a really low tuned records well because it seems to even out dynamcis of hits (your ghost notes become more apparent), gets rid of annoying rings and is harder to play which makes you play better (more deliberate) which all seem to enhance the recording of a snare at the source.different variations on this technique and just generally dampening drums were essential to that "70's" sounding snare.also those great recordings had great playing, no sample replace, no beat detective and very limited number of tracks.so the 6 to 12 tracks of drums that were recorded were really well done and really in phase with each other.in regards to tape, I honestly don't think tape had as much to do with it as we think.
0 kommentar(er)
