The late great Jerry Finn created some of the most perfect drums recordings for modern pop punk. He defined the sound for the genre and after selling million of copies with bands like Blink-182, Green Day, Sum 41, AFI to name a few, we look at the signal path for drums on the Blink-182 self-titled album which was also engineered by Ryan Hewiit (Red Hot Chilli Peppers)
Kick Inside: Audio-Technica ATM-25 > Chandler TG-2 > Neve 1073
Kick Outside: Blue Mouse > Chandler TG-2 > Neve 1073 >
Both bussed together and sent to an Alan Smart Compressor and on to the Studer A-827 tape machine
Snare Top: Shure SM-57 > Chandler TG-2 > Neve 1073 > dbx 160 compressor > Studer A-827 tape machine
Snare Bottom: Shure SM-57 > Chandler TG-2 > Neve 1073 > dbx 160 compressor > Studer A-827 tape machine
Toms: B& 4011 > Manely Pre > API 550L EQ > Studer A-827 tape machine
Overheads: Neumann KM-140s > Mastering Labs Pre > Massive Passive EQ > Studer A-827 tape machine
Hi Hats: Beyer M-160 Ribbon > Phoenix Audio Pre > Avalon 2055 EQ > Studer A-827 tape machine
Ride: Beyer M-160 Ribbon > Phoenix Audio Pre > Avalon 2055 EQ > Studer A-827 tape machine
Room 1: THE Sphere (binaural microphone) > Phoenix Audio pre > NTI EQ > Dave Collins custom compressor > Studer A-827 tape machine
Room 2: Reslo Ribbon > Dave Collins low-impedance Pre > API 550L > SPL Transient Designer > Studer A-827 tape machine
“The most difficult thing to achieve when recording drums with this many mics is good phase correlation,” Hewitt says
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