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March 29, 2024, 02:15:20 PM

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That eighties drum sound.

Started by Brundle-Fly, June 12, 2018, 04:25:06 PM

Previous topic - Next topic

Funcrusher

Quote from: Johnny Yesno on June 14, 2018, 11:40:01 PM
Shriekback - Mistah Linn He Dead: https://youtu.be/a-fGKEMSCTE?t=22m35s

Adrian Sherwood on the mix again. That 12" was a big fave of mine back in the day.

Funcrusher

This always sounded pretty heavy to me - Schooly D 'PSK, What Does It Mean'.

https://www.youtube.com/watch?v=fQc4A-XBzBY

darby o chill

Quote from: Funcrusher on June 15, 2018, 01:14:28 AM
Schooly D 'PSK, What Does It Mean'.

Bananas. A TR909 run through an actual plate reverb (EMT?). He mentions it in interviews.

Brundle-Fly

Quote from: Funcrusher on June 15, 2018, 01:14:28 AM
This always sounded pretty heavy to me - Schooly D 'PSK, What Does It Mean'.

https://www.youtube.com/watch?v=fQc4A-XBzBY

I love that Spartan sound.

Here's another gated eighties oddity.

Ledernacken - Shimmy And Shake '12
https://www.youtube.com/watch?v=w59_jYbl0bY


Johnny Yesno

Another Cabs track from the 1987 Funky Alternatives 2 compilation:

Doom Zoom: https://www.youtube.com/watch?v=Y-0N4qlymjQ

Check out the gated reverb on the kick. It really adds to the jarring groove.

Johnny Yesno

There was also a mix of Tomato Grosso by New York Pig Funkers on FA2, which is worth hearing. This isn't the same mix, but it's close enough:

New York Pig Funkers - Tomato Grosso: https://www.youtube.com/watch?v=bhD00GwFGDY

Brundle-Fly

Those are corkers, Yesno!

This is a classic off the fantastic Psycho lll (1986) OST

https://www.youtube.com/watch?v=ZdiyZIvdzZM&list=RDZdiyZIvdzZM&t=60


Sebastian Cobb

Quote from: darby o chill on June 15, 2018, 08:23:28 AM
Bananas. A TR909 run through an actual plate reverb (EMT?). He mentions it in interviews.

IIRC it's the default demo pattern as well and quite clearly was the basis for ICE T's 6 In the Mornin' and Eazy E's Boyz n the Hood.

Golden E. Pump

Sorry, but I love those XTC mixes...

darby o chill

#69
Quote from: Sebastian Cobb on June 17, 2018, 12:05:46 AM
IIRC it's the default demo pattern as well and quite clearly was the basis for ICE T's 6 In the Mornin' and Eazy E's Boyz n the Hood.

909's don't have presets. Schoolly programmed the whole album. Ice T was mimicking it on 6 in the mornin but more the vocal style than the drum patterns. West coast were all 808 or DMX at the time but Schoolly's first album made everyone reconsider the 909 outside of House music.

Quote from: Golden E. Pump on June 17, 2018, 12:15:34 AM
Sorry, but I love those XTC mixes...
first one is great. dont mind these bald cunts

Brundle-Fly

Quote from: Golden E. Pump on June 17, 2018, 12:15:34 AM
Sorry, but I love those XTC mixes...

I don't mind the Versailles one but the band hated those mixes and hadn't approved them. I have a full head of hair.

Sebastian Cobb

Quote from: darby o chill on June 17, 2018, 06:14:36 AM
909's don't have presets. Schoolly programmed the whole album. Ice T was mimicking it on 6 in the mornin but more the vocal style than the drum patterns. West coast were all 808 or DMX at the time but Schoolly's first album made everyone reconsider the 909 outside of House music.
first one is great. dont mind these bald cunts

They don't have presets but
From the manual:
Quote
Simple demonstration data is pre-programmed into the TR-909 (Bank I, Track 1, Rhythm Patterns 1 to 8) You can erase it and write your own data.

darby o chill

Granted. But it's not the default on any Schoolly records. He even stops/starts it manually on PSK.
Full head of hair too!

buzby

Quote from: Johnny Yesno on June 16, 2018, 12:31:31 PM
Another Cabs track from the 1987 Funky Alternatives 2 compilation:

Doom Zoom: https://www.youtube.com/watch?v=Y-0N4qlymjQ

Check out the gated reverb on the kick. It really adds to the jarring groove.
A cracker. It's not gated reverb on the kick though, it's delayed small-room reverb (what's known as a 'pre-delay' as the delay is applied before the signal is sent into the reverb) that's hard-panned to the left and right sides. It's usually used with a shorter pre-delay than what the Cabs used, so that the reverb more naturally blends into the decay of the kick drum rather than that 'flam' effect.

NoSleep


Johnny Yesno

Quote from: buzby on June 17, 2018, 02:52:11 PM
A cracker. It's not gated reverb on the kick though, it's delayed small-room reverb (what's known as a 'pre-delay' as the delay is applied before the signal is sent into the reverb) that's hard-panned to the left and right sides. It's usually used with a shorter pre-delay than what the Cabs used, so that the reverb more naturally blends into the decay of the kick drum rather than that 'flam' effect.

Thanks for the info. I did wonder about whether it was actually a gated reverb after I posted. In my mind, it was a long reverb fed through a gate with long attack and release times. You could do it that way, couldn't you?

buzby

Quote from: Johnny Yesno on June 17, 2018, 03:22:28 PM
Thanks for the info. I did wonder about whether it was actually a gated reverb after I posted. In my mind, it was a long reverb fed through a gate with long attack and release times. You could do it that way, couldn't you?
If you put a reverbed kick through a gate set with a long attack and release it would cut off the initial 'snap' of the kick, so you would just har the decaying reverb of it. In the Cab's record you can clearly hear a double 'snap' with a short reverb decay on the second one (it's either set to a small room, or has been gated to cut it off), indicating a delay in the chain before the reverb.

The use of the pre-delay on reverb is a common tool in production - most effects processors and reverb plugins include it as a parameter (Kirk wasn't a fan of things like the SPX90, and the effects on Doom Zoom sound very 'crunchy',  like an early low-res digital effects unit like a Midiverb or Microverb). Using reverb without the pre-delay has the effect of making the sound seem further away from the listener (like standing at one end of a hall with the sound coming from the other end). Adding a pre-delay has the effect of moving the listener closer to the sound source and hearing the reverberations bouncing back towards it. There's a section in this video that demonstrates the effect it has when used on drums.

Jockice

I don't know much about drums but as far as I'm concerned the most early-80s sounding record is Drowning In Berlin by the Mobiles, the most mid-80s one is Go West's We Close Our Eyes, and the most late-80s honour goes to Boy Meets Girl's Waiting For A Star To Fall.

Johnny Yesno

Quote from: buzby on June 18, 2018, 12:47:16 AM
If you put a reverbed kick through a gate set with a long attack and release it would cut off the initial 'snap' of the kick, so you would just har the decaying reverb of it. In the Cab's record you can clearly hear a double 'snap' with a short reverb decay on the second one (it's either set to a small room, or has been gated to cut it off), indicating a delay in the chain before the reverb.

The use of the pre-delay on reverb is a common tool in production - most effects processors and reverb plugins include it as a parameter (Kirk wasn't a fan of things like the SPX90, and the effects on Doom Zoom sound very 'crunchy',  like an early low-res digital effects unit like a Midiverb or Microverb). Using reverb without the pre-delay has the effect of making the sound seem further away from the listener (like standing at one end of a hall with the sound coming from the other end). Adding a pre-delay has the effect of moving the listener closer to the sound source and hearing the reverberations bouncing back towards it. There's a section in this video that demonstrates the effect it has when used on drums.

Ah, right. Makes sense. Thanks for going to the trouble to explain this.

buzby

#79
Girls Just Wanna Have Fun came on the radio on the way in this morning, and I was reminded of it's synthetic, almost white noise decaying gated snare sound, which sounds like it came from an analogue drum machine like an SDS V. However, it was a real kit being played live (with a little 808 handclap mixed in afterwards), miked and processed in a very inticate way:
Quote from: William Whitman
It's Anton Fig sitting in the middle of Record Plant Studio B in NYC.. a medium sized, fairly low ceilinged but insanely LIVE room.

RE20 in the bass drum, KM84 on the snare, Beyer 160's over head.
There are no toms on the song so no mics!

The tricks are:
There's a large bath towel over the High Hat to keep it softer in the room... and a KM-86 tucked up underneath to get the HH

and there is an early STC 4038 WAY up in the front of the room in the crease where the ceiling meets the wall over the control room window... 15-20 feet or so in front of the drums. That mic was compressed to oblivion in a DBX160 and then gated by Quad Eight gates with the gate being triggered by the close snare mic. I EQ'd this mic really bright, so when the snare hits, it open the gate on the distant mic and lets this long 'goooosh' sound out.

We also added a distorted handclap from a Roland 808.. through a little yellow Boss OD-1 overdrive pedal. Eric Bazilian played the 808 manually, we'd simply stop and retrigger it and drop in until we had the whole song done. But it wasn't 'synced' in any way.

popcorn

Nothing to contribute, but I love your nerdy music production facts, buzby.