BIG, deep, dry-sounding soul drums.
12 moveable song sections at 102 BPM – classic-sounding drum and percussion grooves recorded and produced with a well-know soul hit in mind.
“Since We’ve Been Together” is a set of 12 moveable arrangement sections of soul drums. The pack runs to 3 minutes, 48 seconds in total audio time. It is played at 102bpm and is recorded on 13 channels (plus extra percussion tracks).
A (Tiny) Bit of History
Willie Mitchell, a record producer (and vice-president of Hi Records) worked from Royal Studios in Memphis, Tennessee. During the 70’s “Papa Willie” guided many artists (most notably Al Green) through the label’s most successful period.
His approach to drum recording is one much discussed in drummer/engineer circles. Some talk about the punchy kick, the muffled toms, or the mic placement that takes in the whole kit as a single instrument. But then there’s the snare sound. Oh THAT snare sound…
Percussion (Not So) Lightly Sprinkled
There are also percussion parts – shaker, tambourine and congas. The congas were recorded with both close and distance mics for panning and blending.
The congas in particular are quite hefty (!) and are a key component to the verse groove. Likewise, the tambourine and shaker lift the different arrangement sections.
The original influence for this pack of soul drums has quite a strange arrangement of sections. It feels like a while before you arrive at a chorus. However there are all the components here that are needed to work to your own song or arrangement.
Or picking a verse/chorus combination and looping them could work well for writing something new.
The Sound of Vintage Soul Drums
We used our trusty old Yamaha 9000, tuned low and mean, using the 13″ and the 16″ for the toms. 22×16″ kick, with the front head low and the display head almost hanging off!
But let’s face it, the drum sound we got here is all about…
That Deep DEAD Snare Sound
So how do you get the Willie Mitchell snare sound?
We’ve no idea, but here’s what we did to get something similar that, we think, is pretty sweet.
We went through the snare collection, and the one that seemed like the best starting point was a tatty old steel thing that occasionally gets used as a timbale. Old, cheap and knackered often seems to translate into “character” in the studio. (Bargain!)
Then we employed the “shove-a-knackered-snare-head-upside-down-on-top” strategy. Yes, this involves digging an old head out the dustbin, turning it upside-down and whacking it on top of the existing snare head.
This immediately drops the pitch of the snare, as well as making the top head twice as thick AND dampening it all at the same time. It’s a serious business this…
Then we tuned the top and bottom heads down-down-down just about as far as we dared and slackened the snares to taste.
To get the snare sound you can hear on these recordings took well over an hour of cursing and swearing, but it was worth every f***ing minute.
The Third Overhead
The final piece of our vintage-drum-recording puzzle was to use a ribbon mic over the top of the kit. Almost like a third overhead, to give a tight, contained, focused drum sound.
Available in the usual Beat Shed packages
Mixes – Beats that have been lovingly mixed and treated ready for you to use. They come as CD quality (16 bit, 44.1khz ) stereo WAV files. All the audio you can hear in the previews are included as separate sections or samples.
Stems – Dry, unmixed, individual audio files of each and every channel. They come as high resolution WAV files (24 bit, 44.1khz). All the audio you can hear in the previews are included as separate sections or samples.
Files included in this package
Mixes: 13 WAV files (Stereo 16bit, 44.1 khz) – separate song slices as stereo mixes.
Stems: 221 WAV stems (24bit, 44.1kz) – separate song slices as individual files for each channel.