• Coffee House
  • Thoughts on Bonham playing technique while recording..... (p.4)
2013/04/26 00:49:03
craigb
Mooch4056


People tell me I am a pretty fun guy.  

Like a pink mushroom???
2013/04/26 01:12:35
Mooch4056
craigb


Mooch4056


People tell me I am a pretty fun guy.  

Like a pink mushroom???

Go ask Alice. When she's ten feet tall. 
2013/04/26 01:50:02
craigb
Love that song.
2013/04/26 03:46:17
trimph1
Danny Danzi


trimph1


@Danny...

Question for you. I have been considering using an acoustic set of drums but not sure of which ones to look into...you have some favorite ones? 

BTW...I've been keeping some of your posts in here...need more time to go through them!! LOL!!


edit...love missing keypads...grrrrr

Hi trimph,
 
Well, anything you can afford would be a good start just so you can get your feet wet. Personally, though it pains me to say this, I'm really liking V Drums more and more. I guess because I can have so many different sounds and the playing is still realistic enough for me to enjoy playing drums. They've really come a long way in the way they work now and I just really enjoy them.
 
But for acoustic drums, it all depends what your use will be bro. For recording, you want to spend some bucks on a kit because with drums, you honestly get what you pay for in the studio. Seriously...it makes a huge difference. Pearl, Yamaha, DW, heck, even Rogers....I've always liked Rogers myself. But like I say, if you're just going to bang around and learn, get something you can affrord. Just don't expect anything too great if you try and record them. :)
 
-Danny

Yep. I know that scenario!! About v20, that is...lol!


I'm going to use the little acoustic thing I have now for practice but it will be nice to find a good Pearl set....
2013/04/26 05:59:42
Jonbouy
craigb


Mooch4056


People tell me I am a pretty fun guy.  

Like a pink mushroom???
 

 
 
FWIW I've always carefully selected cymbals for particular use in the studio, I tend to go for lighter weights that have less tendency to build than I do for live playing.
 
Keeping the drum balance relatively higher than the cymbal 'wash' has always been a consideration for me when recording.  I've never been too fussy about drums because you can pretty much make any drum sound cool, in fact I used to use an old Pearl Export snare, which was pretty much the cheapest thing around, because only having 8 lugs and coarse threads it was really easy to switch sounds mid-session.  It just became my Snare of choice because it was such a chameleon.  Cymbals are a different matter and it can take years to find a set of the right ones and for me it was an ongoing permanent process of selection and rejection, rather than just buying a bag full of them of a particular brand untested from the internet.
 
But then I've always liked the bulk of my sound to come from the OH's and Room mics so the kit balance needs to sound right there as it can't be fixed after the take.  This is true whether you are playing something delicate or beating the crap out of a passage.  If you can't get a fantastic kit sound from a good stereo pair then it doesn't matter how many more mics you add to that.  Conversely if you've got a great sounding stereo image you'll get a myriad of extra options from your close mics.
 
So I'd say your girl there has got it pretty much right.
 
btw Mooch your acoustic kit sounds much nicer than your v-drum set you just haven't worked out where and why it does yet.
One of the distinctive things about the Bonham sound is that the large sized drums he used were untamed and just allowed to ring combined with lots of the nice space he was playing in coming from the room mics.  A few parallel channels of those comprehensively smashed and EQ'd to bring out your key elements and brought in to taste and you're getting close.  If you compare that with the fact that people were using foam rubber and tea towels to kill every bit of resonance coming from the drums you get the idea of some of why it sounded so spectacularly different than what was the fashion at the time.
2013/04/26 06:40:56
Danny Danzi
Jeff Evans


I used to think that too myself Danny until my son got me into this stuff and not only that he showed me and I can hear it big time. Same stick, same drum, two players:

Stick holding point. The position of the fulcrum in relation to the stick. The grip at this fulcrum point. Tight or looser. The shape of the hand around the fulcrum. This effects tone of the drum hit. (this can be very obvious on cymbals)

The energy behind the stick stroke. Finger control or wrist or arm movement. All add varying degrees of power behind the stroke. Major differences here!

The way the stick bounces off the head.

Kick pedal. Heel down or heel up. Leaving the beater buried in the head or let it bounce off. (Major sonic differences here) Weight behind the kick. Just using the foot, leg weight behind, body weight behind. Kick tone gets effected here.

These are all very complex aspects to drumming and this is the sort of stuff Jazz players get taught. (Many) Rock drummers are oblivious to this sort of stuff. With respect Danny you are a very fine guitarist first and foremost (and a very decent drummer too!) but you are not in the league of players like my son for example who has mastered amazing amounts of technique control in the areas I have mentioned above. Drumming is more than just time. It takes a long time to master this sort of stuff well. Technique would be a good word to describe it I suppose.

Here is an interesting article that relates technique to drum sound:

http://www.mikejamesjazz.com/drum_sound.html

The playing the groove the feel, the sense of groove all come out and it's a bit like Frank with his guitars. The sound of a great drummer just seems to ring through for some reason and just over power any kit. The actual playing can override the drum sound to a certain extent. I for one sound like me no matter what kit I play. There is something hard to pinpoint that, just moves with the drummer onto any drum kit. Kenny Clare showed me that in that drum workshop. Gadd would sound great and the drums would sound great no matter what drums he plays.

When masterful drummers encounter a bad sounding head or drum they seem to know what to do or how to extract a better sound out of it.

But yes I also agree that drums are one of those instruments that have many variables and they too all effect the sound. I think a good compromise might be it is a combination of both. The drums themselves and technique. 

Here is a good article I stumbled across regarding tuning more so than technique.

http://www.drummingweb.com/tuning.htm 

Another good drum tuning article:

http://www.mikejamesjazz.com/drum_tuning.html

Sound on Sound has also produced some great stuff on drum tuning.

http://www.soundonsound.com/sos/aug10/articles/drum-tuning.htm

You may be misunderstanding me Jeff. The discussion started about hitting cymbals lighter adding to a huge drum sound. This lead to Paul mentioning that he is having a problem getting a good drum sound, has a darker wood, beat heads and a kit that probably will be a bit of a challenge to make sound good at $750.00. When he mentioned what he had, I told him why he may have been having problems with the sound along with a few things to try that may help him.
 
I'm not disputing any of what you said in your above post. I'm merely saying a cheaper kit is not going to sound good no matter who plays it. Not the playing, the SOUND of the actual drums. And, it WILL be harder to get a good sound out of that kit when compared to a really good kit that may be more geared for recording due to price, build, or choice wood. Honest I'm well aware of the elements and techniques that go on in drumming. I played drums before guitar and started when I was 4. Though I am primarily a rock player due to personal preference, I can and have played various styles including jazz. I think 42 years of serious playing makes me a few notches above clueless. :)
 
Your son being better than me or being a jazz player isn't what we're talking about here. I only mentioned my own playing due to feeling my ability is good enough to be able to show enough technique and finesse to make a good drum kit maintain good sound. I also feel my abilities are good enough to where my playing would not be the reason a drum kit sounded bad.
 
That's all I've been trying to say in this thread. Now take me off the kit and put a great drummer on a kit that's under $800 and record it...it STILL will not stand up to a kit that is 4k and above. You get what you pay for with drums and it's rare (if at all) that a kit for under $800 will be used on a pro record. It's not even worth it for anyone to sit and waste time mic'ing up a cheap drum kit hoping for anything other than *maybe* mediocre.
 
That's really been my experience other than in the case of an anomaly here and there. A cheaper kit (though good for practice and mic testing) is a nightmare if you are going to really try and make it sound great on a recording. You don't find that out until you mic up a $3000 - $8000 drum set and hear the difference. It's so much easier and the drums just sound wonderful with little to no tweaking. We could put my sister on them and still record good sound fidelity....and I don't even have a sister.
 
Would a masterful drummer even be mic'ing up a kit under $800 for a recording? Probably not and we know why. Paul can be the best player in the world....it won't make those particular drums in their current state any easier to record. Whatever the case, we'll just have to agree to disagree.
 
In my opinion, no technique can save drums that just do not print well. Sure you can make a few adjustments to your playing execution, but a bad sounding kit will still be there. Sure there are some decent cheaper drum sets out there that get good sound...but I sure haven't heard too many. Unless they are a GOOD used set that someone is getting rid of at a bargain price, an anomaly, or the person is in need of money and must sell, rest assured you're going to be stuck with garbage cans for a drum sound. Feel free to literally prove me wrong if need be. I don't mind learning from you or anyone else. I'm just speaking from personal experience, not trying to be bull-headed or confrontational. :)
 
-Danny
2013/04/26 08:41:41
Mooch4056
Jonbouy



 
.
 
btw Mooch your acoustic kit sounds much nicer than your v-drum set you just haven't worked out where and why it does yet.  

I agree that I can and will with the help of people here get my kit sounding and recording better ....


However, the v drums I have are the v drums lite .... They don't have great sounds in the brain internally. But you know, triggered in superior drummer toon track software with all those kit options And mixing  capabilities....Hard to beat that sound ehhh? 


I just want to learn how to be a better engineer and mic a kit... For my own projects and or anyone else I may record. 




I am kinda hungry. I should eat breakfast. Then I have a guitar lesson to give at 10am ... Just a tid bit for everyone 






2013/04/26 10:16:04
Jonbouy
OK Mooch I'm only going to say this once so try to pay attention.
 
I had a few minutes spare so I put together a midi loop, something like the feel of 'Fool in the Rain'.  I did a quick kit setup in whatever sampler you like just picking out some likely sounding samples to make a kit, mixed it up totally dry with a bit of room and just recorded that to audio.
 
Being as this subject comes up quite a bit and there's always mystery and intrigue in how it's done, with ideas of him playing in concrete rooms, using chair legs for drum sticks, yada, yada.
 
Thing is when he played live he wasn't in a concrete room, nor using chair legs yet it still sounded like Bonzo.  So it had to be a simple set-up where you could get that sound on a normal desk.  Parallel processing is the answer of course.
 
Check this out, first time the loop goes round it's just dry, second time....well, can you hear the difference?  Remember I'm just using the same rendered audio loop, no multi-mic setup or nothing just parallel processing that loop, one channel is the dry loop, 2nd channel is smashed to get the front of the transients and eq'd to bring out the high frequency material a little room 'verb and a touch of hall, third channel is pretty much the same except eq'd to get the best of the low end.  The three channels are then mixed to get the best result and bussed out.
 
I did this really quickly using just 2 parallels along with the original dry loop but you can hear where it's going and it gets massive really quickly...
 
http://soundclick.com/share.cfm?id=12291682
2013/04/26 10:24:32
The Maillard Reaction
Can you repeat that?
2013/04/26 10:32:31
Jonbouy
mike_mccue


Can you repeat that?

As long as you're not Mooch, he needs to pay attention first time.
 
He gets distracted too easy...especially when you say things like "it gets massive really quickly", that's why I had to put that bit at the end.
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