At The Drive-In

Tópicos de discussão sobre outras bandas e músicos

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Leash
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Re: At The Drive-In

Post by Leash » Mon May 14, 2018 9:22 pm

Off He Goes wrote:
Mon May 14, 2018 12:29 pm
Leash wrote:
Sat May 12, 2018 4:55 pm
Off He Goes wrote:
Fri May 11, 2018 9:41 pm
inter alia é merda e o leash é um idiota
O tiago alves e o edward 3 vão levar t-shirt de ATDI para o Alive em vez de Pearl Jam. Sugiro expulsão imediata do fórum e que apaguem todos os posts ao edward
Pensas que estás a falar para quem?
Já percebi que o user Leash só ouve e fala de At the Drive-in. São uma boa banda mas há mais coisas na vida! ;) ;) ;)
Percebeste mal. Já tu parece que só ouves Arctic Monkeys.
"And I fight back in my mind... Never let's me be right, oh..."
between2seconds wrote:30 seconds to mars volta a portugal em bicicleta do futuro
Deus é JLM

"Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST." Frank Zappa

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prl
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Re: At The Drive-In

Post by prl » Sun Jul 15, 2018 2:50 pm

Parece que só tocaram 5 músicas à pala dos PJ se terem esticado não foi? E o Cédric não curtiu muito.
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enzo
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Re: At The Drive-In

Post by enzo » Sun Jul 15, 2018 3:13 pm

Sim, qdo chegavam ja tocavam mas parece que fizeram birra pq havia pouca gente. Ainda baixou as calças aos PJ.
Pena o som estar uma boa merda, ainda curti 15min ahah

Last Soldier
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Re: At The Drive-In

Post by Last Soldier » Sun Jul 15, 2018 8:24 pm

enzo wrote:
Sun Jul 15, 2018 3:13 pm
Sim, qdo chegavam ja tocavam mas parece que fizeram birra pq havia pouca gente. Ainda baixou as calças aos PJ.
Pena o som estar uma boa merda, ainda curti 15min ahah
:lol:

Aquele atraso inicial lixou bem a vida aos ATDI
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Leash
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Re: At The Drive-In

Post by Leash » Sun Jul 15, 2018 10:03 pm

Não fizeram birra por estar pouca gente, até porque não é verdade. Foi chegando gradualmente mais gente.
Foram obrigados a atrasar o set por causa do atraso dos Pearl Jam, o que fez com que reduzissem o set praticamente para metade. Eu no lugar deles também não tinha razões para estar contente. Foram mal tratados pela organização do festival. Ainda assim muita entrega para 30 minutos. Curto, mas muito intenso. O som estava realmente uma merda, como praticamente todos os concertos deste ano do Alive. Só os NIN tiveram um som praticamente perfeito.
"And I fight back in my mind... Never let's me be right, oh..."
between2seconds wrote:30 seconds to mars volta a portugal em bicicleta do futuro
Deus é JLM

"Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST." Frank Zappa

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prl
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Re: At The Drive-In

Post by prl » Mon Jul 16, 2018 1:27 am

O som no palco secundário estava especialmente mau sempre que lá fui (Wolf Alice, Eels, Yo La Tengo, Real Estate)...
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Leash
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Re: At The Drive-In

Post by Leash » Thu Aug 02, 2018 3:16 pm

Some people asked me to tell a little more about how I made the (drum) sound of the current At The Drive In EP Diamanté.

First and most importantly I discussed with Omar how to make the record sound. We wanted a lush and extreme sounding EP. We didn't want to make a modern sounding record. We wanted to create a statement. In my opinion that is what ATDI was always about. So I proposed to aim for a very special drum sound and put them in Clouds Hill Studio‘s very small but reflective booth. I wanted the drums to sound like a croaking animal. In the song Amid Ethics I added some delay to the drums to make them sound even more weird. We just copied that idea from Omar‘s original demo. I used our self designed delay pedal "ECHO - Clouds Hill fx Floppy Disc Delay" for that.

Then I talked to Clouds Hill Studio drum tech Tim Schierenbeck, told him about the ideas and then agreed to buy a new drum set for the production.
We found this Sonor Lite and put Remo Black Suede heads on all shells including Snare. In most songs Tony Hajjar played our Sonor Phonic 14x8 Snare with either Black Suede or Emperor head. I think we also used the Yamaha “Mike Bordin” signature Snare on one song as well. Cymbals - if I remember it right: HiHat: Meinl Cymbals extra dry 15", Crash2: SABIAN HHX 18", Crash 1: Paiste Cymbals 2002 (not 100% sure) Ride: Paiste 602 Modern Essentials 22".

Hearing those drums in the chamber I (together with engineer and production assistant Linda Gerdes) decided to capture the sound with almost no close mics but a combination of various sets of room and set mics.

First we set up two vintage AKG c12s in "Glyn Johns" technique but a bit further away then usual as the drum sound in that chamber was already very dense.
For additional -very roomy- overheads we set up a pair of Sony C37a in xy stereo right above snare under the ceiling. Due to the reflections that made a super weird sound. We loved it. To give the snare a bit more impact we added a Coles ribbon looking over Tony's shoulder.
For Bassdrum we chose a vintage Neumann UM57 (my favourite for BD!) and added a rare but fantastic B&O ribbon mic 1-2 feet away from the Bassdrum pointing at the rim to also capture a bit of Snaredrum and lots of bass from the Bassdrum.
Then we added a AKG C451 between Bassdrum and Snaredrum, pointing to the Snare and distorted it with a the micpre and 1176 blue stripe. That mic has a super aggressive attack when used distorted on drums. Just tried it in a session before and used it the second time on this record.
Then we had two RCA BX44 in two corners of the room. One "pointing" on the HiHat and one on low tom. Both same distance to the Snare.
Just for safety reasons we had a Josephson e22 on Snare, that also fed the Floppy Disc Delay in one song.

The idea behind the setup is to use extrem sounding drums with a fast and hard attack in an aggressive sounding room and combine it with rather slow responding mics.
Again: We didn't want to make a record that could compete with the (boring) sound of modern rock records. We wanted to create a special sounding, weird and raw diamond.

We recorded all signals to our Studer A820 24 track. Very hot as usual.

In the control room I had to be careful with with compression as there were so many reflections on the mics already that by compressing the signals the sound became even more roomy and weird.
So I chose to use a combination of peak limiters and ... whoops .. aggressive parallel compression with slow attack and fast release and the limiters fast attack and moderate release depending on the tempo of the song. Haha ...

For the Bass I used a simple setup. Paul Hinojos‘ style is very consistent I just used some parallel compression/limiting with an RCA BA6A which gave the bass a bit more stability without ruining the nice attacks from his bass through vintage Ampeg SVT. The BA6A was also fed with some of the Moog bass which glued both signals together nicely.

The setup for guitars was quiet special.

Omar and I worked together on so many projects and especially for the Bosnian Rainbows album I had a crazy setup with 3 guitar amps through a splitter being able to create 5/6 totally different guitar sounds (left only, right only, stereo, wide stereo with additional mid and mono mid only and room) in only one setup combining the amps in different ways.

So this time he said: "I have used all amps in this studio,let‘s try to find something completely different."
I remembered a very special amp I used to record James Johnston/James Johnston‘s voice on one of the Gallon Drunk records. It‘s a Fradan Echomatic Tubeamp. It‘s a weird little monster that can produce a unique sounding distortion with its tubes and tape delay. I found it by accident in a garage. Never seen it anywhere again. Hope it never dies. It‘s a diamond itself.
That amp through through a custom made cabinet with a vintage Electro Voice 12" speaker.
RCA BX44 and a Sennheiser 609.

Keeley Davis played through a Vox AC30 with an U67 and a Royer Labs R-122.

I set them up in a 90 degree angle to each other in our live room 1 and put a room mic in x/y stereo in the spot where their signals sounded equally loud. So I could let Omar play through Keeley‘s amp as well and use "his" room mic and the other way around.
Playing around with different levels and combinations of the close and room mics and levels of the amps could produce weird sounding reflections I used to spread the sound in the stereo picture.
As always ORL Projects and Keeley did their overdubs sitting in the control room and the amps in our very live sounding recording room 1.

When it came to Cedric Bixler Zavala‘s vocals Linda and I put up three mics in a row. Two vintage Neumann U47s and an M49.
I wanted Cedric‘s vocals to sound unique and shimmery reflective to match the rest of the sonically weird appearances.
I panned the second and third mic left and right and the closest one in the middle, added some reverb, compression with a LA-2A and two Empirical Labs, Inc. Distressors and some EQ with a pair of vintage Pultecs. P EQ-1.

The rest: it‘s just levels.
I mixed it to our 1" Telefunken M15 with Dave Hill Class A electronic.
It was mastered by Chris von Rautenkranz at Soundgarden Mastering door to door with Clouds Hill Studio.

Thanks to At The Drive In for their trust and making me part of the journey. Thanks to Linda and Chris von Rautenkranz for her fantastic work. And to Tim for the drums.
And .. Elke Toben for the excellent catering which gave us the energy to finish that record in 3 days!
"And I fight back in my mind... Never let's me be right, oh..."
between2seconds wrote:30 seconds to mars volta a portugal em bicicleta do futuro
Deus é JLM

"Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST." Frank Zappa

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prl
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Re: At The Drive-In

Post by prl » Wed Apr 24, 2019 7:33 pm

Excelente:


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rhinosaur
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Re: At The Drive-In

Post by rhinosaur » Wed Apr 24, 2019 8:23 pm

LOL

Só mesmo um @Leash para curtir esta cebolada...
pearl jam 1996 Image 2000 Image Image Image Image Image Image Image Image Image 2006 Image Image 2007 Image Image 2008 Image Image Image Image Image Image 2009 Image 2010 Image Image Image Image Image 2011 Image Image Image Image Image 2012 Image Image 2018 Image Image Image Image Image
eddie vedder 2012 Image Image Image 2019 Image
soundgarden 2011 Image Image Image Image 2012 Image Image Image 2013 Image Image
temple of the dog 2016 Image

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edward III
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Re: At The Drive-In

Post by edward III » Wed Apr 24, 2019 10:28 pm

prl wrote:
Wed Apr 24, 2019 7:33 pm
Excelente:


:heart:
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