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Can't/won't comment on Ray's assertion re. drummers' timing. We're all entitled to an opinion, after all. But I've always tried to follow the bass player with my right foot, and (in a sense) this always kept me on the right track. I've been very lucky to have played alongside top notch bassists over the years, and if one can become attuned to their particular styles I find it's a very useful way to keep the timing something like it should be. (Hello! Ray)

Chris, many thanks for your helpful message. Our problem of course is that we'd like to replicate the very early 1960s recorded sound - That Sound in drum terms - so your note on what was done in the old days is useful. I am not a drummer and did not know that in any case.

I searched a bit on the web and found that recollections of early drum set-ups coincide with yours - looser heads and no dampening.. We already replaced the solid rubber beater with a soft one and will look at head tightness and no dampening. I suppose I should remove the pillow inside the bass drum?

Our new project is to record covers in our home rehearsal studio. That is a big challenge and worthy of another thread.. We will engage an audio technician but need to educate him as to the sound we want1 It should be fun.

Regards,

Andy

martcaster wrote:Can't/won't comment on Ray's assertion re. drummers' timing. (Hello! Ray)

Hello Martin! No grumbles with your timing when you stood in for The Secrets at a number of gigs!
Looking at pictures of recording studios in the '50s and '60s, one notices that the drums had only one mic hung over the kit. That way the drummer would have to have a heavy right foot to get the kick to carry to that overhead mic.
These days a drum kit needs needs mics for: Snare, Kick, hi-hat, three toms (two rack and one floor) and two overheads; that's eight mics altogether.With multitrack recording, any part of the kit can be brought forward in the mix.

Ray