B
BRDTS
Member
.............1) 3 takes all the way thru, 2) Record fills seperately (in addition to wherever they were performed during the 3 takes above) in case they didn't come out okay in any of the three takes...3) Then apparently, they edit and put the track together....."
Moelar2...I might have missed this, but did you take a drive over to that studio where they did things in the above steps and take a listen to the final results? Did you like the results they came up with? If you've not done it yet, maybe you can do that and then post your opinion of the final mix now that you know how they did it.
It's all great when one has a philosophy about how to proceed in a recording situation. But for me, even if my "ways" work, I'm always up for taking a look and listen to how other people do it. And usually, I pick up something that I can later integrate into my own methods.
I don't have a firm preference for any stock procedure, including drums. I've heard all that Sly & the Family Stone stuff that started with only hi-hats tracked to metronomes..and then built one drum at a time from there. The "feel" of that Sly stuff doesn't seem to be ruined at all to me.
Then there are those bizarre ways of waiting until 23 tracks of stuff were recorded and submixed before even STARTING to lay down a drum track against it al...ala Penny Lane by the Beatles. Or recording just drums and piano and then overdubbing everything else against it, while punching in newly thought of drum fills...again ala the Beatles ...watch the youtube film of the basic tracking of "Hey Jude" where it's just piano and drums....I cringe when I watch it, thinking "how can anyone track that way"...but look at the song we're talking about. Doesn't seem the "feel" of that one was ruined by the technique.
I have personally tried everything I can think of besides having a dynamite, well rehearsed drummer doing a set of perfect takes. As far as I'm concerned, every technique is valid and every technique can be illustrated to have been used in music recordings that are timeless and guranteed a place in history.
So Moelar2, even though you're sort of cringing at the aspect of using alternate techniques, at least you're picking up the skill of doing it when necessary. And like I say, what did you think of the final mixes at the studio where your drummer worked that way?
Moelar2...I might have missed this, but did you take a drive over to that studio where they did things in the above steps and take a listen to the final results? Did you like the results they came up with? If you've not done it yet, maybe you can do that and then post your opinion of the final mix now that you know how they did it.
It's all great when one has a philosophy about how to proceed in a recording situation. But for me, even if my "ways" work, I'm always up for taking a look and listen to how other people do it. And usually, I pick up something that I can later integrate into my own methods.
I don't have a firm preference for any stock procedure, including drums. I've heard all that Sly & the Family Stone stuff that started with only hi-hats tracked to metronomes..and then built one drum at a time from there. The "feel" of that Sly stuff doesn't seem to be ruined at all to me.
Then there are those bizarre ways of waiting until 23 tracks of stuff were recorded and submixed before even STARTING to lay down a drum track against it al...ala Penny Lane by the Beatles. Or recording just drums and piano and then overdubbing everything else against it, while punching in newly thought of drum fills...again ala the Beatles ...watch the youtube film of the basic tracking of "Hey Jude" where it's just piano and drums....I cringe when I watch it, thinking "how can anyone track that way"...but look at the song we're talking about. Doesn't seem the "feel" of that one was ruined by the technique.
I have personally tried everything I can think of besides having a dynamite, well rehearsed drummer doing a set of perfect takes. As far as I'm concerned, every technique is valid and every technique can be illustrated to have been used in music recordings that are timeless and guranteed a place in history.
So Moelar2, even though you're sort of cringing at the aspect of using alternate techniques, at least you're picking up the skill of doing it when necessary. And like I say, what did you think of the final mixes at the studio where your drummer worked that way?