![]() ![]() which I always viewed as having been more "elevated" into that slot of "opening the tripping doors" when DStar was gone. If you check out 82-88, they played a lot of Birdsong, Cassidy, MNS, PITB, etc. I think, in general, that the years when DarkStar was put away ( essentially 81-89), the D/S segment seemed to be most relevent as a "piece" rather than just a piss break. The top was recorded with the Berlin 103 emulation, to translate the darkness of the snare that we were using, while the bottom was set to the Minnesota 20 to add the flavour of the snare springs.FWIW, according to Healy in his book, D/S come along mostly as a means for the band to go backstage and re-up, so it was meant to be a break of sorts born out of their habits. The Edge Solo microphones were also great for recording the snare (although we approached the positioning cautiously with this mic, to avoid the risks of it peaking and over-modulating). Using the Vienna 414 emulation provided an additional level of transparency and evenness to the sound. With the Kick Out on the other side, we focused on the lower frequencies of the kick drum. Our emulation of choice was the Vienna 112, the same as we would use in the studio. ![]() This is to prevent clipping, but more importantly, it gives the attack you need combined with more of the natural resonance of the instrument itself. With the Kick In, the approach we took ensures that the microphone does not point at the beater, but rather at the wooden shell of the drums itself. ![]() In our recording, we used two Edge Solo modelling mics working together to shape the sound of the kick drum. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |