|
|
Failed to execute CGI : Win32 Error Code = 3 |
| Free from a music retailer near you. |
|
Paul Kelly band member Peter Luscombe is one of Australia's finest drummers. Never one to just keep the beat, he is as much responsible for melody as any of the band members. I asked him to get specific about his set up for Paul Kelly's 'Ways and Means'. "The basic kick drum set up … I use two kick drums, one which is a Pearl 20x16 which is my standard recording size drum and an old Premier Olympic drum from the 50s which is 22x12, and like an old orchestral bass drum with both heads on it. That I used for the more bottom end resonating drum for the brushes and ballads. Snare collection consisted of the Pearl orchestral snare drum which has the three snare wires on it. I'd use the gut wire and have it tuned fairly low which was a particular sound Tchad (Blake) liked, reminiscent of the old Al Jackson or Al Green snare sound. Also an old 1920s Leedy 15 x5 snare. That's another one I use for fairly low tuned stuff but I use with brushes, plus an old 1950s Ludwig 40x6 woodshell. Toms were regular 12x8, 14x14 Pearl maple shell tops. Cymbals. I used a lot of different hi hat combinations. I've got a pair of old Zildjians from the late 60s, early70s , a 14" hat I use a bit, 15" sweet hats which are quite low in volume, and Tchad gave me an old kids' cymbal off a kids' kit. We used that as a top hi-hat in a lot of things to get more of a clunky sound. I did one track where I used two crash cymbals as a hi-hat which was a heavy thing. The main ride is a Constantinople ride that I use all the time, which is really great for brush detail. A lot of the drum sound came down to how Tchad miked the drums as well. He uses a binaural head which looks like a manikin's head and it has got the mics in its ears. He puts it about head height facing you directly, and that's where he gets the bulk of his overhead sound. Also he also runs a mic that he runs wild between the two toms and he gets a lot of snare and stuff but he compresses that quite heavily. So that's a big part of the drum sound as well. He really thinks outside the circle. He might do things where he places a mic somewhere, then places another mic back off it. A combination of a bit of room and bit of amp sound. He used the binaural head a bit on the piano a bit and acoustic guitars, as well as the lapel mike he used on Paul's Martin. He pretty much would take everything on face value. Whenever we went for a sound it would be whatever it takes, whether changing a mike here or moving things closer."
|
