Getting Vintage Drum Sounds | Season Three, Episode 19
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- Опубліковано 26 чер 2024
- We often lust after classic drums and vintage tones but is it possible to achieve a vintage drum sounds from modern instruments? When we shoot for a “vintage” tone, what does that really mean? This week we address the concept of vintage drum sounds and how to achieve such a vibe when we’re asked for it.
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Signal chain:
Mics - Focusrite Clarett 8Pre USB & OctoPre - MacPro w/Pro Tools 12.8
Recorded at 48kHz / 24bit
Focusrite Clarett 8Pre USB tinyurl.com/Clarett8Pre
Focusrite Clarett OctoPre tinyurl.com/ClarettOctoPro
Full kit: AKG C414 (ear-distance)Snare drum & tom tom close mics: Shure SM57
Bass drum: AKG D112 (at mic port) + KAM R3 Ribbon microphone ~8” away from reso
Drumheads:
Snare: Evans Calftone batter / Snare Side 300 reso
Toms: Evans G12 coted batters / Reso 7 coated resos
Kick: Evans UV EQ4 batter / G1 coated reso w/felt strip
Drums:
Pearl Masters Maple Custom Extra
Cymbals:
Old Zildjians (detailed video on Patreon)
Hosted by: Cody Rahn
Production: Ben O'Brien Smith @ Cadence Independent Media
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I have a late 60's Revere kit made by Pearl that I went down a bit of a rabbit hole with and I tracked down all vintage hardware (Ludwig Speed King, cheap vintage snare and cymbal stands, etc.) and some vintage cheap cymbals just to put together a full 1960's beginner style kit as a secondary studio kit. It forces you to play differently. You can't really bash on it because it will literally fall apart on you. Haha. Having those restrictions forces you to approach playing entirely differently than playing on a more modern kit.
What I like about this video, and all the other SOUNDS LIKE I DRUM video’s I’ve seen is the scrutiny. High quality of thinking.
I waisted A LOT of time trying to go for a sound I finally realized was so vast of an idea, with so many variables, mostly recording processes, as mentioned, I finally decided to tune drums the way I like them to sound, and in a way that speaks to me! I'll let the next guy try and get my drum sound! 😁
One of my favorite examples of this kind of thing is what Aaron Sterling calls the “BJJDT” snare sound: that super fat, super dead thing that seems to work in every pop song.
He says he arrived at his version of it from listening to James Gadson on those old Al Green records not realizing that there was a dude in the background hitting a conga with a mallet on all of the backbeats! Super interesting how they went about achieving these sorts of sounds back then, completely blew my mind the next time I listened to “Let’s Stay Together” after hearing that!
Al Jackson played on Let's Stay Together, just a little correction.
KaitsuDrums Oh word! Thanks!
Great to hear some love for Levon Helm. Great vid guys
Cheers from Seattle
I’ve been playing kit 40 years now and your vids are gold 🙏
Hey this is really great teaching of vintage sound great job my brother.
Captured so beautifully. Thanks Y’all
In my experience the defining part of a vintage sound is the bearing edges. I have an early 70's Rogers kit that has fairly sharp edges for the era and it does sound more modern than a Ludwig or Gretsch but it doesn't sound "Modern" per se. How much the skin connects with the shell really defines the various sounds of drums. Thinner shells are definitely a big part of it too, and the access to older growth tone woods, like vintage guitars.
Astra Planeta Older growth woods are usually more dense than a quicker grown tree. So it’s not really about old growth vs new growth and more accurately overall density of the wood. Where the bearing edge touches the head, how well the head seats on the bearing edge and overall shell density are the most important factors in the final drum sound. And it’s mainly the heads and how well they fit on the drum shell. I can take 2 drums with very different shells and with various muffling techniques make them sound virtually identical. Or least to the point where it won’t be able to be identified in a blind test.
Start studying "vintage" sound of drums from the history of music.
"Color of sound" (or "old smell") of music often depended from volume of drums in a music.Quiet or loud playing of drums always depended of the historycal twists in a music. From dixieland through swing era (acoustic genres), then in rock and roll that was after the invention of the amplifier. Eventually, these things inevitable affected on playing approach, touching, record process. (sorry for bad English)
The guitar amplifier was invented so guitarists could keep up with the horns and drums , dixieland jazz used banjos because they cut through more than an arch top guitar , but it wasn't a solo instrument in jazz until Charlie Christian came along with his mighty 10 watt amp. By the end of the 60s guitar amplifiers became so powerful , drummers started mic'ing their drums to keep up with THEM ... The 70s would see the first serious concert PA systems and we were off to the races ...
Thank you for a dignified thoughtful discussion! Tens of variables and you made it all make sense especially generational expectations. I am 50, grew up on early metal & 70's rock. Now I love Tony & Elvin size kits. Coated is King for me. Thanks again That crash hisses nicely.
The floor tom sounds great!
Such a satisfying video. Succinct information on a complex subject.
Another great video, thanks! And I really enjoyed the open, musical tone of the kit in the video. All the best!
Your drums always sound great to me. I would like to see a vintage kit trying to sound as modern as possible cause that’s what I give myself doing often.
Great deep dive. Solid explanation that the "vintage sound" is a sum of way more parts than just "old drums." The dynamics really make a huge difference. Sometimes a kit can walk through multiple genres without tuning changes solely through how you're hitting it.
EXACTLY! -Cody
I'm glad people are starting to talk about this in the drum set community. Grip, muscle group, attack speed, and rebound all affect the tone. Possibly more than the equipment does. It's a huge chunk of why Gavin Harrison is identifiable on any track by his snare sound or why Neil Peart couldn't get Gadd's kit to sound like Gadd in the Burning for Buddy sound check. Who you are and how you play matters more than the gear half the time.
Having said all that I just scrounged up a 9 x 13 & 16 x 16 Slingerland toms & they just sound beautiful. Unique. When I was a dumbass teenager in the 70’s I had a Ludwig 4 piece kit, but also a 1940’s Slingerland kit my grandparents bought from a friend. The other drummers in school would freak at the sound of those Slingerlands. I really think it’s untrue to say older drums don’t have a tone quality that is different. However, I do believe modern Ludwig drums can get you a mythical “vintage sound”.
Ive learned so much from yall!
Thanks for the amazing experience & for the excellent teachings!
Love this channel!!
When someone says vintage drums sound, I assume they mean drums with less attack - because a lot of them had rounded bearing edges - and fewer high overtones so as to avoid clear heads.
True but I also think of them having super loud resonance on the toms (cranked reso heads).
Really vintage drum sounds were largely down to the recording techniques and equipment; you hear vintage 3-plies sounding a lot more “modern” when still used today, and you can tune almost any kit to sound jazzy/Mitch Mitchelly and then play rock on it if you want to.
@@averyetvspecial1487 I have a couple of 60s Ludwig Super Classics and the bearing edge angles are very shallow , I also have a Japanese Gretsch copy kit with slightly sharper edges , all three kits have a very warm round and ' musical ' sound. I have a Big R Rogers Memri-Loc bitsa kit from the early 70s that has much sharper bearing edges and has a brighter sound ... Much more ' rock ' if you will ... I love 'em all .
Such an excellent video. Thanks for posting.
The intro was very well said, it was great as well to compare it to guitar years and such
Very well thought out. Such a valuable source of info
Great work. interesting to think of tuning for dynamic levels
I have a 1969 Ludwig Standard (22x14/13x9/16x16) with coated heads on both sides... Emperors on top and Ambassadors on the bottom. I got the idea from Bonham hearing how much of a warm sound you get from coated resonant heads. Depending on the tuning you can get multiple sounds out of the kit with both high and low tunings. Thinking about the vintage Zeppelin sound I wanted to get the biggest drum sound I could with the sizes I have, so with the exception of the kick I tune them pretty medium-high for a great mix of tone and response that feels great. Nice video! Cheers!
If you really want a Bonham sound get a set of Vistalites. I have clear Remo Amb. on the bottom and clear Remo Emp. on top and wide open Bass drum sounds like thunder. At gigs everyone loved the sound
Nice episode.... you brought out many good points... the one I liked most is your recognition of the fact that ALL vintage drums are not the same and they are not all really good. I WAS around back in the day and there was a lot of variation from drum to drum just as there was from cymbal to cymbal. Ya gotta hit for your self before ya buy it. :-) today consistency is far more common in drums at all price points but that was not always the case. Good comments also on how things were recorded. Well done!!
I hava a 69 supra and a 1964 super classic Ludwig kit, and a modern Tama kit, and I learned that if you want a vintage sound it’s 10% in the kit and 50% in the tuning and the rest in micing, preamp and compressor! My favourite vintage micing is the Cosmo factory style, just google it and try it it’s great!
But that’s just my opinion
Excellent episode. Your summary of the pitfalls of trying to encapsulate a ‘vintage’ sound was perfect - as was the vintage vibe you got from the drums, especially the snare. The snare could’ve been visiting from 1963. The whole kit would’ve fooled anyone, blindfold them and they’d swear it was a vintage kit. That’s the point, right?
My picture of a vintage drum - thin shells, rerings, roundover 30 degree edges, real (visible) beds on snare. Fat, woolly, kinda Lo-fi are words that make me think vintage. Of course, as you say, there is no one sound, but if we think of vintage sound as OPPOSED to modern sound, we can get some usable and different sounds that are fitted to the task. You could’ve used that kit from today in any old cover band with pride.
Caught that “All of my love” kinda groove. Crispy
I really like the information here. I think you are right about the whole vintage conversation... That's being said the kit you are playing here sounds wonderful but clean and what people call modern. I'm a sound engineer and can mess it up to sound "vintage"... Anyways, the US kit build quality was just all over the place. I was curious and tried early 70's pearl and a tama. They also sound clean and for today's standard "modern". Didn't surprise me cause the wood work was precise and "even" which made me to come to my conclusion of; The terrible wood work imperfections of the older US sets with thin shells made the difference. (You also gotta play them a bit more carefully) Regardless, they sound funky and nasty with lots character and overtones! which I like for some stuff.
If you are looking to buy; I suggest people getting a kit with thinnest shell possible. Generally speaking don't go top of the line series from popular manufacturers because they over engineer to justify the price which end up with ton of extra weight, extra paint, etc... on to the kit which doesn't let it resonate. Follow C&C, A& F, Nobley &Cooley, etc... you will see a "less hardware the better" type of approach as well... They are expensive but read the specs of them and try to find something from a major manufacturer that is similar for ~$1000 set.
Most importantly; older kits should not be worth more than $300-$400! Thank you for the nice video!
(Coming from someone with: 20+ studio work as mixer/engineer, currently owning few modern Tama sets, Yamaha, an all original 60s ludwig kit, 50s ludwig kick, snares, ton of Istanbul's, Zildjian's, etc... )
This sounds really cool. I want to try that out.
I think you covered all the right stuff here, well done guys! I make a good portion of my income from 'vintage' drum loops and I definitely think the recording methods are more important than a particular tuning. Minimal miking and tape are essential for me and as long as I have that I can change my drum setup to whatever I feel and to me it will sound vintage. Any 'pleasant' distortion from a preamp can add character.. It does not need to be high end equipment for what I do! I had a friend visit my little studio and was looking forward to getting some recordings of him as he is a much better drummer than myself.. He was playing great stuff but was hitting very hard and the recording did NOT sound good! My inspiration is from classic breakbeats via hip hop records and I think playing wise I play very soft, I'm a 'tickler'. Thanks again, this is such a great channel!
Oh, I'm liking the sound of the drums on this one. I bought a 2016 Grestch USA Custom vintage build, and I swear I had to shove that kick drum batter on. I don't know if they are oversized as part of the "vintage build" customization, but I have never had to do that before.
1:49 Premier squad incoming! ;)
You guys are ON POINT! I love the content, explanations and precise information that you share in vivid details! Keep it up! Also, what cameras 🎥 are you guys using? Looks AMAZING!
Thanks so much! Cameras are Canon 5DmkIV, 6D, 7D, and GoPro Hero 4 overhead.
Hey i really enjoy your videos. Very good explanations and you obviously know what you’re talking about. No BS. No pretending that things are “black magic” or unattainable because of some nebulous regurgitated false info that isn’t true. You’re also very pleasant to listen to and can actually string together a proper sentence unlike so many other youtubers 😂 keep it up 👍🏼
Nice video. I think "vintage" is a relative term...as in from the 50's, 60's or 70's, etc., were definitely all different from each other (I imagine some younger folks out there might think Simmons pads from the 80's sound "vintage" ;-). In any case, I've learned relatively recently how much difference the kinds of hoops/rims make...as much as head/tuning choices. I decided to try a pair of Gretsch 302 hoops on my Catalina Maple snare, and WOW...what a beautiful tone. Warm, fat, wooden...but still they produce wide open rimshots that die casts don't seem to have. I don't know if the 302's were intended to recreate vintage tones , but they sure sound a lot closer to the old bebop recordings than anything else I've tried. I absolutely love them.
The Glyn Johns technique is how many of those old records were mic'd. Three or four mics used on the drums is all.. bass drum, snare, and an overhead (or two)
My thoughts on a "vintage sound" is typically higher tuned drums of the 50s and 60s. Bigger drums, tuned up higher which allowed a natural resonance. Not Bop range, but mid range tension or a higher. This even in rock music of those times. Listen to Mitch Mitchell's drums on Are You Experienced.. Hal Blaine on all those 60s hits.. drum sounds on Marvin Gaye's recordings.. all of the motown stuff. Drums tuned up a bit higher than you'd expect, along with single ply coated heads, combined with the recording technique I mentioned. The exception would be John Densmore of the Doors.. single heads, no reso's on toms and he tuned low as he could.
If you're talking 70s, then mid to lower tunings were starting to be more prevalent.
When I first started playing I had a mid 60s Premier kit with calf skin heads on. It was a gift from my uncle who had played on the Merseybeat scene. He was always looking for a better sound, plastic skins, nylon tipped sticks, double braced hardware etc
Bloody Hell, did your uncle know Cliff Richard!!!!
God bless you guys for doing this, even though we can't even gig at this time...😩
Now is an excellent time to work on refining your tuning skills, opening your ears, and diving deep into your tone/touch. Hang in there! 👊🏻
Anyone else get "Easy Lover" in their heads at 3:15? 😁
I mean, I did :) -Cody
Sounds Like A Drum lol, I thought it was Zeppelin’s Ozone Baby
It's basically because of you guys that I bought the two ply mylar hydraulic so thanks
It's all about the 1.6mm hoops ;)
Great video!
Excellent point! That certainly can help...though that’s different from what Gretsch used so... 😉
I haven't caught this channel in quite a while, but the host is looking good! Looking like you lost weight, and you look way more comfortable speaking on camera. Good shit 😊
Really like the tom sound. Always had a lot of issues but I’ve been taking more and more time to get it sounding nice since i’ve been watching your videos.
Honestly this is pretty much what I want and have my toms sounding like right now.
Old 69 Sonor Teardrop that i try and tune as low as possible so it would sound more modern than jazzy. Gotta try some coated resos i guess..
Funny how things turn out.
Nice. I have a 1978 luan Pearl kit. 24 18 16 14 13 12. All coated heads. Emps on top and Ambs on bottom. Felts on both bass heads and a 5 inch port. All tom resos are a perfect fourth higher than the batter. And I couldn't be happier with the sound.
For those with similar heads and tuning, the resos are tuned to the same note as the fundamental, but an octave higher. So when I tune the batter, it's slightly adjusted from a "perfect" perfect fourth in order to make the fundamental sing at the same note (an octave lower) than the reso head.
This tuning technique gives the best tone, attack, and the perfect amount of sustain without any muffling. Even for the 16 and 18 floor toms!
Given what pitches work best in these sizes, I have the following to share. Remember, these are the reso notes and the fundamental will be an octave lower. The batters are a perfect fourth-ish. This doesn't work for Ambs over Ambs. Only Emps over Ambs.
12 E flat (a 10 is better)
13 B flat
14 G
16 E flat
18 B flat
24 G (fundamental 49Hz)
Please reply for any questions. And thank you always for these videos. I love, love, love this channel!
I agree that the worn out head to get a vintage sound is an myth. I have a vintage set of Premiers and they have brand new heads (Aquarian MVIIs) and it has that vintage sound everyone seems to clamor for. I've also found doing restoration work that there was a lack of precision in the cutting of bearing edges as well as snare beds in the 60s and 70s and that also has a lot to do with the tone created. Precision Drum makes shells with a "vintage" bearing edge cut to replicate that tone as close as possible, but you's need to want to make your own drums.
Love all of your content. It's nice to see something about the kit itself (tuning, tips, tricks, etc) rather than yet another channel giving lessons.
Hey cody,I would go with my father to his recording sessions in the early 60,s,the drum set was in a corner,a four foot baffle in front, two overhead mikes,one in front of the kick,no port,that's it
where are you mate? my brothers old kit looks like your kit. It was a sweet kit had the 26 bass drum. he had trouble with the snare lugs on his.
The heads that seem to need most replacing for me is my 10" tom, 14"floor tom and the snare. My 12" tom head and 16" floor tom don't get all black. i use coated emperors on all the toms and remo ambassador for the snare
Recently got a Slingerland set from 1977 and figured the reason it has coated Ambassadors on the batter and reso heads was out of cheapness of the player not the fact that older drummers set them up like that for their sound. I'm going to play them as they are for a while longer but plan to put all new coated Ambassasadors with clear Ambassador resos on them. I hope it will be an improvement...
Don’t forget about sticks. No nylon tips. No signature sizes. Usually 2B or 5B back then.
Traditionally, I associate “vintage drum tones” with some muffling and lower tuned drums. My kind of textbook example of this is Ringo’s drum sound on “Come Together”. Reverb did a great video on how to get his sound from a handful of Beatles eras, so check that out (here’s the link: ua-cam.com/video/EAq9WPVL6iM/v-deo.html ).
I also believe micing techniques have so much to do with our perception of how drums sounded (along with plenty of other instruments). If you have the mics, recording equipment, and time to experiment, try more minimal micing techniques such as one or two overheads, one on the kick, and one on the snare.
In summery and for my own non-professional musical-endeavors, I’ve gotten pretty solid results achieving a “vintage sound” with fairly muffled drums, lower tunings, minimal-ish micing, and just not hitting as hard while playing/recording.
I have an older used Pearl Vision 5 piece set. Just put new heads on each one. Having a hard time setting up the Toms at right height & angle. Any videos you recommend? Thanks
I spend hours on my accent power Ludwig kit trying to get a vintage sound.compair to my Ludwig down beat four piece getting sound like the 13” Tom.accent has some cs black dots but I can get petty close to it.
Love the video, and great advice! I would doubt to some degree that the players and engineers of that time even paid that much attention to tuning or drum choice in general, at least in the popular music space. The Motown guys said they basically played whatever was there, and they never changed the heads and very rarely tuned them. If you listen to some of those drum tracks in isolation (go find some of Ringo's iso tracks), they sound awful. We hear those drums in the context of so much else going on -- and the song itself -- that we don't really notice how bad those drums probably sounded on their own. And then, as you said, they were being recorded to a single tape track through very slow old limiters and then reduced multiple times with other material (and sent again through those same limiters!). There's a lot of rose-colored theology around those sounds that simply isn't true. I think what you've got here is right on, though.
The first time I ever went into a proper recording studio was EMI's ( or HMV as it was then ) 8 track studio in Wellington NZ around 1971 , there was a Ludwig kit in place , mic'd up to the way the engineers liked it and that was what everyone used ,although they sometimes let people use their own snare drums , they frowned on it . The bass drum reso head was off, and a cushion with a brick muffled it . A big old Phillips dynamic mic right near the head and two Neuman U87s crossed over head .The head honcho had spent time in London and had very strong opinions about how folks recorded in HIS studio . They had a Neve desk like the one Beatles were always clustered around ... Grey steel , with the huge knobs and the Penny and Giles curved faders . Magic !
Tip for another video:
I understand you approach of no compression and EQ.
But in like 50/60s context of vintage is not what was happening.
All tube gear was used, that tended to compress a lot. Also compression was used on purpose and was essential sound of drums, mainly since ‘64/65 onwards.
Same goes to EQ, lot of rapid EQ was there.
No eq and comp will always give what I consider modern sound, fast, sharp with almost no room and overtones.
Lot of old kick sound was that tybe compressors werent so fast on attack and decay as modern ones and were affecting overal sound same way for example modern metal EQed kick. You cant get that same sound without eq and comp. This is kinda same.
So one time try to make it sound like record.
Have you covered the sound difference or feel difference etc that different mm thickness of the plys of the heads make?
Nope, not yet. Some of that is because thickness is HUGELY misleading when it comes to the behavior of different films. Not all 7mil feels/sounds the same. The drumhead manufacturers have oversimplified things by presenting these thicknesses which, unfortunately, gets people latching onto material thickness as the key to so many things rather than understanding the myriad of other variables at play. That said, we'd love to get this topic for comparison among a particular variety of films from a single manufacturer at some point when we're able to launch a comparison series.
Aquarian Modern Vintage single ply heads achieve that old drum sound easily, at least on the drums I have. I'd really like to try those Evans Calftones though. I have an old MIJ kit; and I think Evan's heads fit better on those old oversized shells.
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Love your channel man! What are using for OH’s? Love em!
Thanks! We appreciate it. We used a single AKG C414b just off camera over Cody’s shoulder rather than in a traditional overhead position in order to capture a realistic drummer perspective. -Ben
@@SoundsLikeADrum thanks ben, really cool!
How about the wallet on the snare? Lol
I think the idea of "Trashed" heads for a vintage sound comes from people not knowing what rawhide heads look like, they're not a uniform colour like modern coated heads
That could certainly be some of it. However, I think a lot of people see photos of worn synthetic heads (and see them on vintage drums today) and think that the wear/tear is a necessary element. It certainly affects the sound but I think we've demonstrated that such tones can be achieved a few different ways, even with brand new drumheads. -Ben
Alright, I am getting what you told me when I asked you about that Calftone skin and you told me "no calf where killed to make this drumhead". Since you´re saying in this video it´s "faux calf", it is not made from animal.
You guys should try out how mesh reso head would sound with a standard head on the batter side.
It’s actually super useable - it’s same as no front head but easier to stabilize a pillow or other muffling 👍🏻 -Cody
Question.....batter heads single or 2ble ply?
I appreciate your comments about dynamics and touch. Steve Gadd's "In Session" tape was one of my drumming bibles growing up, and he proved that you don't need to bash the kit to keep the pocket going. There's a great video of him playing with Paul Simon in the 70's and you can see how lightly he plays - he used a lot of body language that made it look like he was hitting harder than he really was: ua-cam.com/video/Ou70vvjE8k4/v-deo.html
Vintage ( older drummers) tuned their drums very differently..
Eg…Buddy Rich sounded very different to Gene Krupa..
great vid, I got a question (I'm a engineer/producer with a guitar background), why do so many drummers love rim shots? I get that they sound loud to the person hitting them but through mics they tend to sound thin and overly attacky. Is that something that started later with heavy music?
Hey there! It’s hard to give a definitive answer since you can even hear plenty of rimshot accents way back in swing bands in the 30s but as far as the modern 2 and 4 go, I think it was about volume and cutting through in live situations. From John Bonham to Stewart Copeland, things in the 60s into the 70s definitely got a LOT louder and also fuller-sounding on rock stages 👍🏻 -Cody
5:15 No one said you need the same tape machine or pres, in fact it doesn't matter, just get a tape emulator and what you need else and you're good to go.
To me, vintage drums have a different sound, vibe and definitely a different feel than modern drums. I find they all have a certain character and don't sound as "Hifi" (ie tons of bottom end, scooped midrange) like many modern drum sets do. I love old Luddy kits (both 60s and 70s) but C&C do fantastic modern kits with that vintage feel and vibe that is so intoxicating. Great show as ever!
Love the video. A little sad about how much you have to preempt certain commenters...
Can you cover the different drum sounds on the album "Currents" by Tame Impala? I'm obsessed with the sound of the drums on that record.
Reverb actually did a wicked video on the subject.
@@sashaszlafarski9949 yeah, but the drum sound they went for was more like the sounds off of Lonerism. The drums on Lonerism have a pretty gritty, old fashioned drum sound, but the drums on Currents have a much tighter and almost electronic sound
Coated both sides of the snare?
1 or 2 ply for either side
That's sort of what we addressed in our latest episode: sladl.ink/Episode125
+soundslikeadrum *Were I tasked with reproducing a drum part of the 1930's, some of the hardware is not available new.* Ludwig-Musser Division, Conn Selmer Incorporated, produces drums from maple, mahogany, poplar, &c., but not a double snare consistent with the original Ludwig & Ludwig Super-Sensitive of the 1920's. My dream snare from Ludwig-Musser? A ø14" x 7" with a batter snare strainer consistent with the Super-Sensitive and a P87 release/P34 butt/L-1108 guts set across the resonant; EVANS®/D'Addario® CT14S batter/S14H20 resonant with PureSound™/D'Addario® EQ14 batter snare. Toms would get Strata 1000 top and bottom; kicks would get EQ3 Frost Batters fore and aft.
Good Luck making a new kit sound like a 60's kit. They are 2 very different animals. Plastic heads today in the early to mid/late 1960's calf heads were used, . Reinforcing rings are no longer standard issue, which is very important for a different sound. Internal mufflers play a big part, Although most younger player think internal mufflers suck they have mostly played on a internal mufflers that' are 60 plus years old and they need oiling and or new parts or just a new one all together. His drum kit sounds very much like a modern kit of today full of mid range over tones. The drum companies of the 1920's through the 1960's were for the most part owned and operated by knowledgeable drummers. So making the best product was the main idea as well as making money. . In the early 70's Japan came into the picture in a big way. This totally fucked up the market and forced the big company's to sell out or change their product, That's when the American drum companies started to go down hill. Many sold out to big business like Fender did because music became a big business. And the rules of greed entered into the picture. Sadly by the 1980's the big 4 dropped the mahogony/maple/mahogony shell and used less wood plus a cheaper grade of woods, and they dropped the reinforcing rings and dropped the drilled internal mufflers to try to compete with Japan and still make money. this move cut did costs down quite a bit, However it smacked of desperation and it helped to lower the quality and the sound of the drums.
Why aren't you buttering your hats like ringo?
For me, Gene Krupa has the "vintage" sound. Just saying. :)
How to get a vintage sound:
Step 1. Don't use plugins
You have no experience I see
"Sounds Like A Cody"
Too many words, bro.
I'm here for the tones not the thesis.
Hey John! Thanks for watching. Chances are you’re probably new to the channel- welcome! This series as about the how and the why- not just the what. Context is key for all of this. Think of it like a drum lesson of sorts. You can watch videos of people playing all day long but when it comes to the topics we cover and our approach for the last 120+ episodes, we’ve decided that what we’re doing works best and our viewers agree. If that’s not for you, no worries! We’re certainly not trying to be everything to everyone. So if you’d rather rush through the explanations and just hear drum sounds, feel free to fast forward. You’re under no obligation to watch either. Cheers! -Ben
Sounds Like A Drum : what a Smart polite answer!!! I want to say That i love the many words ! Cause they are full of experience and wisdom and love to the drums
Step 1 remove all drum heads with the name “Evans” on them. Step 2 replace drum heads with Remo coated Emperors on batter side and coated Ambassadors on resonant side. Step 3 tune heads tight enough to resonate and sound like old drums. Step 4 you can repurpose the Evans heads as frisbees. Thanks.
Of course, we could tell you we did that and then play you these recordings and laugh when your response is, “see?!? Now THAT sounds vintage...” 😂
I commented before I heard the drums. Damn the kit sounds beefy. Great vid dude. I still don’t like Evans heads heh :)
Richies Playground there’s always one 🙄
@@richiesplayground7092 So yeah, the sound is obviously the key here. We're also quite happy with how the coating holds up and the fit of the heads (makes ALL the difference for low tunings like this). If you're just hung up on the brand because you're not familiar with them then it might be time to check out some of the options. These sounds were achieved without any post-production (no EQ or compression).
Richies Playground Don’t make the mistake of being a brand loyalist. People seem to get behind a head brand as if it has some relevance to drum sound, but ya gotta let that go. Here’s the deal - all drums are different and so are heads. So every drum has a potential best head for the sound you want. And it’s NOT always gonna be the head brand you’re attached to. How the head seats affects tuning and sound. While every 14” head (for example) fits 14” drums, they’re not all the same. I have drums that don’t ‘like’ Remo heads but ‘love’ Evans and vice versa. Ime, Evans heads are the biggest in diameter, on some drums a Remo or Aquarian head will be too tight where an Evans will fit perfectly. On some drums, Aquarians or Remos fit fine. Different sounds - Aquarian TC or MV are the least plastic sounding ‘regular’ single ply head, great for jazz. Remo Amb, Vintage Amb, Amb X are fabulous and work for lots of drums and sounds. Nothing more classic than an Ambassador. Evans really is technologically superior, they seem to put more into R&D and aren’t resting on their winners. UV series, g12 and g14, reso7, and the beautiful Calftone - Evans is reinventing the potential of our instruments and really exploring some amazing sonic territory. And Attack as we’ve seen is doing some interesting stuff as well, their new snare heads sound terrific. I use them all, why limit yourself? There’s no benefit to being a one-brand drummer unless they’re giving you free heads. Use the best tools at your disposal, don’t overthink the brand loyalty unless you’re a stockholder.