This is a cool read, doesn't mention stats on Dark Side though.

http://sparebricks.fika.org/sbzine23/ggg.html

I think there are several mistakes in this article. For example, the it states that Mason used 12" hats and Zildjian cymbals for Live at Pompeii. Just watch the movie and see for yourself that none of that is true. Zildjians don't look or sound like that and those hats are clearly bigger than his 12" rack tom.

Also... 16" snare drum? What?

I don't know about the rest of what the article says but it certainly omits his clear Fibes kit, for example.

That article has more than a few errors is right.

To the OP,I think you're chasing a sound that is more studio engineered/ generated than what live acoustic drums really sound like.

They were also recorded in Abbey Road studios,probably using then state of the art gear.

By double wide( I've never heard that term used before,except for trailers) do you mean snare wires,like 42 strands?As far as drum heads,Ludwig and Remo stuff we have now,is pretty close to what was available in 72/73,when the album was recorded.

Steve B

Dude, how much compression is being added to that drum? The sound is muffled and muddy. Something, some effect, is being post-edited in after the drum is recorded, that is burying/killing the sound of the snare drum. Does it sound the same way as a raw track? How much are the overheads adding to the mix and where are they positioned? Is there a low ceiling in the recording space?

The sound of the snare drum needs to open up. Lose whatever is causing the muffling effect. I bet it'll sound great without any post-editing crapolla added.

John

This is a great topic. I've chased that sound for years also. Came close a few times I thought years ago with my old kit. I love that album and it helps the mood playing along if the drums are tuned close. For me anyway. Yep I'm sure as everyone said it's the studio mix. Would be cool to find out exactly how it was done.

Have you tried to ask him on his Facebook page ? His last post was 5 hours ago.

All the mics are going into a 1978 Teac M15 board, and the stereo buss has stereo limiting inserted (both are 1970s blue-faced Ashly SC-50 compressors).

This is all recorded live, once it's recorded to two track in digital that's it, can't take away or add compression. Anyway I'm just looking for tips on heads and snare wire? Anyone have any insights about what nick might have used for his supraphonic? Please don't let this become another mediocre thread with mindless babbling. I want details. I want to meet other drummers who want details. This is the kind of knowledge that will be lost forever. Pass it on to us youngsters before this stuff dies like the dinosaur!

I wouldn't be surprised at all if he used a coated amb over a snare side amb with stock Ludwig wires. I don't think that's your real problem. As was said before your limiters are killing your sound. those Ashlys are pretty good for individual tracks but not on the mix bus. Nowhere near transparent enough. You'd be far better off getting as clean a sound as possible to digital and then processing with plug-ins. Your limiters are severely limiting your ability to get a good clean base track. If you can't use them as inserts I wouldn't use them at all. It's just a bad idea to commit to processing within the raw track. Just my opinion of course.

Steve

That's what I mean though.....my heads are dead, and I believe the wires are off, the 42 (what I call double wide) are not the right ones. You're thinking the "dark side" snare sound probably was just a standard size snare wire?

As far as the recording, you're actually starting to hurt my feelings lol. In all seriousness, I kinda like the sound, and as far as I can tell some of my favorite drum tracks are compressed '70s sounds. Hell listen to the first Apple ablum, 1969. Right when the band plays the drums get squashed in the background. I love that sort of stuff. That's not my problem though. My problem is that, my Supraphonic does not sound good just being in the room!

So, before I went and bought new stuff for it, I figured I'd ask around and see what people thought Nick might have used so I can buy that stuff. Really, my snare sounds okay but once I tune it to be as "low" as Dark Side sounds, my Supra just starts messing out. I'm looking for basic drum advice I guess. Is there such a thing as a "lemon" supraphonic? It seems REAL touchy.....Sometimes I tune it and it's instant dark Side, but somehow off. I'll make an adjustment and lose that great sound forever!

flowers2