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story of the year punchy drum sound!!!
Old 8th October 2008 | Show parent
  #31
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jjblair's Avatar
 
🎧 15 years
Hunter, speaking of samples, I have a collection of single snare hits from anywhere I could find them on the whole Stones and Zeppelin catalog, that sometimes get used. One of these days, you should come over, and I'll give them to ya.
Old 8th October 2008 | Show parent
  #32
Gear Guru
 
RoundBadge's Avatar
 
🎧 15 years
love it.that would be super cool.
Old 10th October 2008
  #33
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🎧 10 years
Quote:
Originally Posted by flipmodea ➡️
Hey guys..........i've been tryin to get a drum sound close to story of the year...u can hear the songs here: http://www.myspace.com/storyoftheyear.......but i cant quite get my snare to sound like it. I'm using the 1st Ludwig snare from DFHS with some clearmountain snare samples on top. the problem is i like the punch from the ludwig and it is the main body of my snare sound but the ping on it is disgusting...and if i gate it i loose to much punch...a multiband gate i thought would work well (gating the low end and letting the high end thru) but i dont have one..im using paralel compression and i've got DFHS and DFHCV and i have all the uad compressors. also i have some live overheads and room tracks layered over the drums that we recorded in the studio...Has anyone got close to the Story Of thr Year drumsound using dfh? If yes please help a desperate and fed up producer....thanx
I would try using samples firstly. For processing I would try a tape emu [or real tape if you can] and a Pultec with a boost at 200hz and 10k.

This usually gets me what I want. I also agree with the transient designer thing if its not punchy enough.
Old 10th October 2008 | Show parent
  #34
Lives for gear
 
🎧 10 years
I'm not sure how great the drummer is in question the OP has working with him, but in order to get the SOTY sound without samples you have to have a freakin' great drummer, great technique (micing and playing and mixing), and a great room.

Otherwise, it's gonna be sample enhanced.

I don't mind the sampled drum sound. If the song is cool, I don't really care. But I can see why it irks people. Having said that, the OP wants the SOTY sound. You need a damn good drummer, good kit, tuned well, etc etc. Then, if things still aren't where you need them use samples. Don't feel bad about it either. A lot of my fav cds that came out in the 90's apparently had samples (Nevermind, Siamese dream, etc). I didn't know this till last year or later...?? haha

Oh yea, whoever posted that tune... I liked it. Send it to me
Old 7th December 2010 | Show parent
  #35
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1 Review written
🎧 10 years
I know this is a really freakin' old thread, but here goes.

The drums sound fine. Really good actually. Take a little 'verb off the guitars and bring them up. They sound pretty awesome why not give em a boost. Drums are more than fine, not enough guitar.
Old 7th December 2010 | Show parent
  #36
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jordanvoth's Avatar
 
2 Reviews written
🎧 10 years
Old thread indeed. I've been a Goldfiner/Mest/GC/Story of The Year fan since I was in junior high. When I got into engineering I pulled those out of my old cd rack to listen on my monitors. It wasn't as good as I remembered but the songs are fun and have nostalgia. I know for a fact that Feldy used to be the type to engineer with samples in mind. He used to use a Pearl Export Kit for everything and then sample afterwords. His newer stuff is a lot better. With this stuff samples are the ticket, but steer clear of libraries and plugs. Take samples of your kit, take as many velocities you want and blend them. Snares that excel for this particular sound are the Pork Pie Little Squealer, and the Pearl Picollo. These days samples are for eq and verb sends.
Old 7th December 2010 | Show parent
  #37
Gear Guru
 
u b k's Avatar
 
🎧 15 years
Interesting that the only rebuttal with merit here goes something like this: 'but 12 year old boys love it.'

You can set aside issues of taste and 'goodness' or whatever, and you can still acknowledge that once upon a time, regardless of what the music was or who it was designed for, the sonics were crafted by adults with an ear to what sounded good to adults. I think this is also true of a great deal of the pop music itself, it was made for adults. Not all of it, but a healthy chunk of it.

That's not better, it's just different. Being an adult, I confess to having a bias here. Hell, I'll just admit it: I wish more pop music was made for adults, for people with a more developed ear for melody, harmonic complexity, and lyric depth.

Humbug.


Gregory Scott - ubk
Old 8th December 2010 | Show parent
  #38
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steins's Avatar
 
🎧 15 years
+1 for the Transient Designer. Wish I had 8 channels of those instead of 4.

Stein Tore
Old 8th December 2010 | Show parent
  #39
Gear Addict
 
RockManDan's Avatar
 
🎧 10 years
whats frustrating about this type of drum sound, is that there are two ways of going about it, 1) samples, quantize, time-stretch, etc or 2) great drummer, great enginner, great mixer. THe end result is ALMOST imperceptible to the consumer, but that fine line makes ALL the difference. Its tough to write off that style of sound simply because people get there in cheap ways that have no staying power. Its like critizizing perfect pitch singing because it reminds you of autotune (ok maybe a bad example).

For me as a drummer and producer, I love a good modern drum sound PLAYED that way. Tune your snare and kick right. Learn how to hit drums. Mic them right. Compress/EQ right so that you are enhancing the good qualities of the performance, instead of hiding them. For all the time we spend making crappy drummers sound like whats on the radio, you might as well have just programmed the drums with the way sample tech is today.

No offense, but it seems pretty pointless to compare something like the stones or even Zeppelin to those sounds because its a completely different style of music. Its like talking about modern guitar sounds and saying 'well dang CLapton is so much better'. Whats the point?

Much like most trends in recording, there are good creative artistic uses of certain sounds, and abusers. 'In the air tonight' is a classic, but the rest of the 80's ruined gated room sounds on drums. Metallica's black album pretty much popularized that hyper-real metal drum sound 20 years ago, but now we all 'hate' it. Brickwall limiting has its uses, as does time-stretching, and autotune. Don't throw the baby out with the bathwater.
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