Even though this is an older resurrected post its great to see responses from recorderman and wwittman as both of these guys are miles beyond the majority of the average poster in terms of experience and discography. I especially liked the fact that they were almost diametrically opposite in their likes and dislikes and yet both can produce excellent results.
This is why we try out everything.
With todays technology and the fact we can peek into particular methods through the use of the internet and the books and recordings about certain recordings, it give an even larger palette of colors to paint with.
The trick, of course, is to choose the right one for the task at hand.
In the heavy THUD snare sounds of the late 70's and 80's , we would record the snare, usually with a 57, and then run that track back out to an amplifier hooked to a speaker cabinet laying on its back out in the tracking room. Then we'd lay another snare on top of the speaker grill cloth, mike the center of the snare with, usually, an SDC of some kind and run this back into another separate track, usually gating eveything out of the original track except the single impact sound. Then we'd play the track back and record the snare being 'played' by the amp and speaker.
Just another sound to blend in. This was way before drumagog and stuff like that. Sometimes you could get the track to accurately trigger a drum machine snare. I liked the old Linn machines for this.
But then just when you thought you had some cool method down, some band would come in and the drummer would be a master at tuning things and would bring an old Camco ten lug and all it needed was a mic.
Its what makes this fun.
