drum sampling :::
popeye-x
Aside from a close mic on the kik, and two on the snare, I use stereo
distance mic pairs
to get the sound of a real power rock drum set. I got 2 large diaphram condenser
mics,
Marshall Electronics MXL2003's, flown in a
left/right V, 45 degrees forward,
12" apart, at least 6' above the set, if I want to sound bigger, I increase
the distance.
2 even more distant condensers, AKG C1000S are
mounted 12' in front of the set,
and 12' apart, 18" from the ceiling. When recording single hits on cymbals,
I sometimes move the far away mics closer for more detail.
1-Shure Beta 52 - is laying on a blanket
inside the kik drum, 6" from the rear head,
2-AudioTechnica ATM23HE's - pointed towards
the snare top and bottom,
see photo, and preamped thru a Presonus Blue Tube.
A 1402VLZ Mackie used to preamp the all
condensers w/bass EQ knobs at 2 o'clock,
the kik and snr mics are recorded flat. These 7 mics are recorded as 7 seperate
tracks
into a PARIS 3 system,
then mixed in various combinations of mono and stereo,
then I cut out single hits, beat loops, and layers of beat loops "with
holes",
and make a whole whirlwind of brand new beats for the music I wanna do NOW.
why?
Why do I go to all this trouble, when I could easily pop in any of
the unlimited drum samples
available from the music industry? The answer is simple. Originality is
extremely gratifying,
and so are REAL DRUMS, especially when they're YOUR OWN real drums.
I also love giving my kick drums a "tit job", as my friend Gypsy
Doug calls it. I use a low
sub-bass oscillator from the German synth, Reaktor,
to make my own "808 silicone",
from scratch, of course, and I add the 'descending darkness' to my acoustic kick
samples.
This has a tendency to make my drum loops sound much BETTER than the so-called
big groups,
who mostly use normal, sensible sample CDs, to make drum tracks that nobody
notices.
Since I started 'rolling my own', I've become severely addicted to the sound of
making it all myself.
The extra time it takes is almost unmeasurable, I can make them much faster than
I can find them,
and its surprising how fast you can do something when you know MUSICALLY
why you're doing it in the first place. Also, I have found that I don't like the
'nice' drums they sell.
They're all close miked. To me, they sound like they're trying to kiss your ass,
instead of
kick it. I have no use for so-called professional sounds anymore, they sound
like they're saying,
"We're sorry to bother you, please accept this commercially acceptible
inferior crap, since
EVERYONE else does." The ONLY company I've heard who comes close to what I
want
is www.pocketfuel.com , if you
don't have a recording studio at your disposal, I recommend you
hear their distant mic'ed samples. They're very good, you have to 'cut them'
your self, to
make your own beats, but that's much easier than auditioning 200 lame hits from
other CD's.
The whole concept of preset musical materials is just another symptom of the
typical
American approach of making everything be as worthless as possible...
Why should drum samples be any different? Or music, for that matter?
::: drummers
:::
Chuck Fansler
::: Phil Dalmolin :::
Kevin Conway ::: Kurt Otto
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