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prasa > Modern Drummer, lipiec 1986
Modern Drummer, July 1986
Ask a Pro (column)
Jeff Porcaro
Q: What were the drum sizes, head types, and cymbals you used to
record Toto IV? Did you use the same setup when making Isolation,
and do you use the same setup live? And can you please elaborate on
your tuning methods?
-- Shawn Wright, London, Ontario, Canada
A: The drum sizes I used to record Toto IV were 10", 12", and 13"
rack toms of standard depth, 16" and 18" floor toms, and a 22 X 16
bass drum. I used a 6 1/2 X 14 Radio King snare drum. The heads
were Remo Ambassadors on the tops, and generally Diplomats on the
bottoms, depending on how live I wanted the drums to sound. The
cymbals were all Paistes, and included a 20" Formula 602 ride, 18",
19" and 20" 2002 crashes, a 16" Formula 602 crash, and 14" Formula
602 hi-hats. Basically, I used the same setup for Isolation and I
also use it live. I will add or subtract a drum here and there, and
lately I've been varying the cymbal setup with Paiste's new 3000
series.
I reallly don't have any tuning method. I usually tune the drums
differently for every new song or every situation. When putting on
new heads, I'll tighten each head as tight as I can get it, play on
it a while to let it stretch, and then tune it up from there. I
don't worry about the head being tensioned evenly; it generally
isn't. I just tune it until it sounds good. Sometimes it takes two
hours; sometimes it takes two minutes. You have to realize that,
as far as drum sizes and tuning go when recording, every song is
different. There are sometimes different drums used or different
sizes, and different tuning methods will also be used, depending on
the song.
I do have a philosophy about cymbals. When I use a crash cymbal in
the context of a song, such as on a verse where it's a softer
dynamic, I like people to hear the crash cymbal's tone and sustain
ring over a bar or two. To me, a lot of crash cymbals cut off too
soon. They're there--splash!--and that's it. I have a couple of
those for when I want that sort of thing, but basically, when I hit
a crash cymbal, I like it to ring over the bar. Some I like to last
two bars, and some I like to last four bars. And I like it to be
heard; that's why I have such big crash cymbals. Over a loud band,
either live or even in the stuio, I still like the cymbal to cut
through loud dynamics. The ring--the "overhang" of the cymbal--
should be there.
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