That unmistakable reggae snare sound-courtesy of a Yamaha Jimmy Chamberline Signature snare close-mic'd with a Beyerdynamic M201)-was created by removing the bottom head and the snares, stuffing it with a piece of acoustic foam, and tuning the top head as high as possible.įor the two toms, we relied once again on out our trusty 13" and 16" Gretsch rack and floor, each mic'd with a Sennheiser 421 and dampened by towels. ![]() We highlight this by placing the overheads (this time, a pair of AKG 451s) in close proximity to the cymbals (a pair of 13" UFIP hi-hats), only about six inches away from the sound source. ![]() ![]() When it came to tracking the kit for this particular episode, isolation and precise stereo panning was where it's at-as a percussionist, Barrett's style was all about syncopation, flashy fills, and plenty of emphasis on the hi-hats.
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