also, i make sure i get a Snare A and Snare B, just to prevent machine gunning on fills etc. Using NI Battery 4 to manage all the samples is ideal because there’s easy filtering, easy ADSR, the transient designer is very cool, and it’s just got all the required tools for shaping and sculpting the samples. Same for Snare A, Snare B, Rack and Floor Once i had all my WAV one shots, numbered and labelled i had the following format (using the kick as an example) At the end of the drum tracking sessions, i took the sessions home and spent another 5-6 hours tidying, shifting, phase aligning as well as generating MIDI data for Kick, Snare, Rack and Floor
#SNYNCING ENDNOTE WITH CHROME FULL#
wasn't bothering with Hard, Medium Soft hits as these tracks were pretty full on, dynamics wise. Got some individual one shot hit samples of the kick, snare, rack, floor and cymbals too. some of it, actually is pushed up in the mix at certain points - this set up, at the request of the band, kinda worked and made sure the tracks kept their energy and allowed the drums to bounce off a bit of a wild and loose guide vocal performance. Room Mic - Foamed up PZM… after experimentation, placing it north west from the perspective of the drummer yields the best balance between kick/snare/cymbals/toms… the foam does make a bit of a difference in just letting less cymbals through.įor the actual capturing, i had guide bass in the control room and had guide vocal/guitar in the live room, looking directly at the drummer - so on the actual drum recordings, there's bits of shouting and feint vocals in the bleed. This also isn’t much of an overhead, when you get the height/phase just right, it adds a big punch to the snare with a bit of added room I point them at the snare, equally distanced apart, thanks to some handy markings on my rug (cba getting the tape measure out EVERYTIME)Ĭentral Overhead - Snare Beta 57 - again, it’s directional, very directional - i did used to like the beta 58, but this isn’t noticeably different and it looks cooler. Overheads - AKG c1000s - they’re directional, they’re a bit crispy… i’m not into adding compression or loads of EQ to my overheads, these mics should be mixed in to add the natural drum sound and these mics have never let me down.
Plus, i can apply a lot more desk EQ without it going over the top. thing is, i KNOW the sound of a 58/57, i know what it sounds like on a snare, on an amp etc so it made a lot of sense on the toms to know where i was starting tone wise relative to other sounds. I had to switch to SM58’s out of necessity when one of the M201s was in for repair and i’ve not gone back. So when i used to use the beyer M201s, they were kinda half way there already tone wise, so when adding EQ it quickly became too much.
Kick - Audio Technica 4033 - capturing the front skin’s flap *crazy hands are the cheap 99p bits of hand shaped gel on the end of a long gel tether, known for flinging at your mates face in school and filming it on those square nokia camera phones. A bit of tuning here and there, some crazy hands* thrown on and just a general good grip on the overall kit sound and that was it. A million times cooler than a fresh new factory kit, still on finance, with memory locks, untouched skins and hardware you can see your reflection in. So anyway, here's how i recorded the music - there's a lot of images attached, in kind of the same order as this little report covers themĬlarkey’s beaten up old Ludwig kit i think it was… it had a rip in one of the skins, it had lugs missing, dents in the hoops and his drum stool is some old army tin thing with a bit of a cushion on top.
The physical lead single 'Jonny Guitar' off the EP of the same name was the number 1 on the official charts last week, they've just supported Liam Gallagher at his massive Finsbury Park show last week too and just wrapped up a pretty much completely sold out headline tour across the country So i work out of VIBE studio in Manchester, i've been producing and recording Manchester's constant stream of talented, dedicated, weird and wonderful up and coming bands for the last 5 years there with one or two big names thrown in from James to Roots Manuva over the course so far…įor those of you that don't know, Twisted Wheel are a rock band from Northern England, who were once signed to Columbia, supported Oasis at Heaton Park, front cover of the NME several times - now almost 10 years later they've reformed again with new tracks, and i was the guy they came to, to record their new material
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